17. Dynamic Type TreatmentsWelcome to Illustrator CS3 One-on-One: Advanced Techniques| 00:00 | Hi, I am Deke McClelland, graphics
expert and vector-based audio animatronic
| | 00:04 | here to welcome you to part three of
my epic, 24-chapter doctoral treatise on
| | 00:10 | Adobe Illustrator, known to goth
girls and beat boys the world around as
| | 00:14 | Illustrator CS3 one-on-one.
| | 00:17 | If there is a theme that binds part three,
beyond advanced techniques, of course, it's live.
| | 00:22 | In this chapter, we'll look at how you
can combine live effects with live type to
| | 00:27 | create that most impermanent of all
creatures in Illustrator, the multilayer text
| | 00:32 | effect that can be modified in a
moment's noticed with the modest Type tool.
| | 00:36 | But that's just the beginning.
| | 00:38 | Chapters 18, 19 and 20 assail us with
vector land's immortal trilogy, Live
| | 00:43 | Trace, Live Paint and Live Color.
| | 00:46 | Chapter 21 goes by the
unassuming name Using Symbols.
| | 00:50 | But given that a single symbol may
control an entire army of instances, it's
| | 00:54 | hard to characterize the function of static.
| | 00:57 | If not live, then what with all those
instances roaming your artwork, perhaps undead.
| | 01:02 | Next comes 3D, itself a
live effect. See what I mean?
| | 01:06 | It's all live, all the time.
| | 01:08 | In any case, welcome to the
hard stuff in Illustrator.
| | 01:12 | When you finish with these chapters,
you'll fully deserve to stick a gold
| | 01:15 | star on your monitor, but make sure
that gold star has plenty of food and water
| | 01:19 | and some air holes too, because it's alive.
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| Applying Live Effects to groups and layers| 00:00 | Hey! It's the return, the welcome return of
everybody's favorite dead android, Ghost Robot.
| | 00:08 | All right.
| | 00:10 | Hey, that's not very nice.
| | 00:12 | Don't be talking that way about Ghost Robot.
| | 00:15 | He always speaks very fondly of you, by the way.
| | 00:18 | And besides, this is his last appearance.
| | 00:19 | After this chapter, you won't have
Ghost Robot to kick around any more.
| | 00:23 | All right, so do me a favor and go
ahead and open this document right here.
| | 00:27 | It's called Ghost type.ai.
| | 00:29 | It's found inside the 17 dynamic type
folder, and what we're going to do in
| | 00:36 | this exercise is I am just going to
tour you around a few other Live Effects
| | 00:40 | that are going on here.
| | 00:41 | So you just get a sense, because it
really is one of those things the more you
| | 00:44 | see Live Effects, the more you really
get a sense of what's going on, and what I
| | 00:48 | am about to show is the hierarchy of
Live Effects, how they can be applied not
| | 00:53 | only to paths and things like compound
paths and compound shapes, but also to
| | 00:58 | groups and sub layers and
layers and on, and on, and on.
| | 01:03 | So check out this guy.
| | 01:04 | The price tag up here is 75 cents.
| | 01:06 | In the future, there is a big price reduction.
| | 01:09 | There is a big deflationary trend.
| | 01:12 | But if you were to use your black arrow
tool to sort of marquee this area, you
| | 01:16 | would select one and only one ellipse
and this happens to be rotated to a 15
| | 01:23 | degree angle, for real.
| | 01:24 | It's not a virtual rotation.
| | 01:26 | That's a real rotation.
| | 01:27 | The other two guys, they are virtual and
if you check out the Appearance palette
| | 01:31 | here you'll see that we've got a Stroke,
we've got a Fill that has 35% Opacity,
| | 01:35 | and then we've got this Transform
item that's applied to the entire object.
| | 01:39 | If you double click on it, you'll see
that we get the Transform effect dialog
| | 01:43 | box that we saw so very often in the
previous exercise, and we have got a Rotate
| | 01:48 | value of 15 degrees and two copies.
| | 01:51 | And this is pretty cool, actually.
| | 01:52 | If you turn on Preview and then you
go ahead and nudge the copies value up,
| | 01:56 | you're going to create kind of a
nautilus shell effect right here, as you add
| | 02:01 | more and more copies of this
ellipse. So, kind of nifty.
| | 02:06 | You can also add in a little bit
of Randomness, if you wanted to create
| | 02:09 | some random rotation.
| | 02:11 | Anyway, I am going to cancel out of here
because I am happy with the effect as it is.
| | 02:17 | What else is going on?
| | 02:18 | Notice that he's got like these zig-zaggy
lines that are emanating from his finger tips.
| | 02:23 | He also has a soft glow around him.
| | 02:25 | Those must be Live Effects.
| | 02:27 | So I am going to switch to my White
Arrow tool by pressing the A key, and then
| | 02:31 | I am going to Alt+Click or on the Macintosh
side, I would Option+Click on one of these lines.
| | 02:36 | And it's obviously a straight line.
| | 02:38 | If I press Ctrl+Y, or Command+Y on the
Mac I can see that every one of these
| | 02:42 | lines that's emanating from his
fingertips is a straight line, just a straight
| | 02:46 | segment between two points.
| | 02:48 | So if I press Ctrl+Y, they are
wiggling, so there must be some sort of path
| | 02:53 | wiggler that I have applied to these objects.
| | 02:56 | But if I look over here in the Appearance
palette, I see that I have got a Path selected.
| | 03:00 | It has a two point stroke, no fill,
default transparency, nothing going on. What?
| | 03:05 | Well, check out the containers here.
| | 03:08 | The Group has some sort of Live
Effect applied to it because of the
| | 03:12 | appearance of the fx icon.
| | 03:14 | And also this checkerboard indicates
that there is some transparency going on
| | 03:18 | and the layer has a Live Effect applied to it.
| | 03:21 | So to get a sense of what those Live
Effects are, you just need to click on
| | 03:23 | one of these items.
| | 03:24 | So if I click on Group.
| | 03:26 | I'll up select hierarchically to get
the entire group, as we can see, which
| | 03:31 | includes all of these radiant lines here.
| | 03:34 | And now I can see, all right, they are
set to 50% Opacity, cool and Roughen,
| | 03:39 | well, that makes sense.
| | 03:40 | So now, I can double click on the
Roughen item and I can say, "Gosh, let's see
| | 03:44 | "what happens if I modify the Roughen settings."
| | 03:46 | If I take the Size value up, I am going
to get more wiggling, so more jaggedness
| | 03:51 | up and down, perpendicular
to the path, that is to say.
| | 03:55 | And if I modify the Detail value, for
example, if I reduce the Detail value, I
| | 04:00 | get less action parallel to the path.
| | 04:03 | So that's kind of nice, actually.
| | 04:04 | I want to take some of these segments out of
the path, but I want to add more variations.
| | 04:10 | I'll take the Size value up and the
Detail value down and then I'm thinking "Oh, gosh.
| | 04:14 | "I wonder what it look like if I
switch the points to Corner to Smooth."
| | 04:18 | Nice, I like that a lot.
| | 04:20 | It's more of a sort of a gentle wave
pattern going, which seems to suit the
| | 04:25 | easygoing Ghost Robot better, I think.
| | 04:27 | So I'll go ahead and click OK.
| | 04:29 | Now let's check out the layer.
| | 04:30 | If I click on the layer item then I
select all of the robot objects, everything
| | 04:36 | that's inside of this
PathFinders layer down here.
| | 04:39 | And I can see that while there is no special
transparency going on, there is an outer glow.
| | 04:44 | So I am going to press Ctrl+H, or
Command+H on the Mac in order to hide
| | 04:48 | the selection edges.
| | 04:49 | Then I am going to double-click on outer
glow to bring up the Outer Glow dialog box.
| | 04:53 | Let's click on Preview so we can
keep track of our modifications.
| | 04:56 | Right now, the mode is set to Screen.
| | 04:58 | I want to leave it set there, but
I might want to modify the Color.
| | 05:01 | So, I am going to double
click on that Color Swatch there.
| | 05:04 | It brings up the Color Picker dialog box.
| | 05:07 | I can change the color by dragging inside
of this Color fountain column, right there.
| | 05:13 | And I want more of an Orange color I
think and then I am going to increase
| | 05:16 | the Brightness and the Saturation a little
bit by dragging this ball up and to the right.
| | 05:21 | And then I'll click OK to
see what that looks like.
| | 05:23 | It looks pretty good, kind
of a nice peach glow going on.
| | 05:27 | Now I can reduce the Size of my glow by
reducing the Blur value and pressing the
| | 05:32 | Tab key or I could increase the Size of
the glow by increasing the Blur value.
| | 05:37 | Now, if I increase the Size of the glow,
I am also going to get a more diffused
| | 05:41 | glow effect, which actually
suits me just fine. I like it.
| | 05:45 | All right. Now, I'll go ahead and click OK in
order to accept that modification.
| | 05:48 | So just bear in mind that you can
apply Live Effects not only to individual
| | 05:52 | paths but to entire groups of paths, to
entire layers, to basically any kind of
| | 05:57 | container that you can put
together inside of Illustrator.
| | 06:02 | In the next exercise, we're going
to set about applying Live Effects to
| | 06:07 | Live Type.
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| Making beveled text with offset strokes| 00:01 | In this exercise, we're going to see
how you can use offset strokes to create a
| | 00:06 | depth effect, to basically
raise the type off the page.
| | 00:10 | It's a highly practical effect, as it turns out.
| | 00:13 | A lot of folks use it, although I
find that very, very few people do it
| | 00:17 | dynamically, which is a much better way to work.
| | 00:20 | So here I am inside, still inside the
ghost type.ai document. That's available
| | 00:25 | to you, inside the 17 dynamic type folder, and
I am going to pagedown inside of this document.
| | 00:31 | So I can take in the name of the
primary author, the name of the author
| | 00:36 | that they are really highlighting on the
magazine cover here, which is Thim Thumbleson.
| | 00:40 | And you might notice if we
click on the baseline here.
| | 00:42 | You might notice the type
is at something of an angle.
| | 00:45 | If you don't notice that, check the
casters on your chair. You might be
| | 00:49 | missing one or two.
| | 00:50 | This is Live type, by the way, and
it has, if we look over here in the
| | 00:55 | Appearance palette, we can see that
there is a series of Strokes that have been
| | 00:58 | applied to the type.
| | 00:59 | And you can see how it sort
of has a Beveled appearance.
| | 01:02 | Well, what I want to do is recreate
this type for you in front of your eyes.
| | 01:08 | So, first thing I am going to do is just
hit the D key - D as in default colors.
| | 01:13 | And it goes ahead and fills the type with
white and then gives it a one point stroke.
| | 01:18 | In this case, what we're seeing is a stroke
that goes into the type and out of the type.
| | 01:23 | So, into the letters and out of the
letters because the stroke is, by default,
| | 01:26 | centered on what would be the path outlines
for each and every one of the letter forms.
| | 01:31 | I am going to go ahead and take this
stroke value and I want to increase it.
| | 01:35 | I want to take it up, let's say, two points.
| | 01:37 | I am going to give it a two-point line
weight, and the text just looks horrible
| | 01:41 | at this point, and it's all because
the strokes are leaking into the letters.
| | 01:46 | There is a very simple way to deal with
it here inside the Appearance palette.
| | 01:50 | Grab the Fill and move it on top of
the stroke, and prior to the Appearance
| | 01:53 | palette, you can not do this inside Illustrator.
| | 01:56 | Now you can, and that completely, just bang,
| | 01:59 | takes care the problem.
| | 02:00 | Now the text looks great.
| | 02:01 | And so even for very simple text
outlining effects, you want to work here
| | 02:06 | inside the Appearance palette.
| | 02:07 | Put your Fill on top because, by
default, the Strokes are always on top.
| | 02:11 | So now let's take the stroke here and
let's go up to the Effect menu and choose
| | 02:16 | Distort Transform and Transform.
| | 02:18 | Now, if you are starting to get the
sense that transform is like the great and
| | 02:22 | powerful live effect, well,
you are right. It's a great one.
| | 02:26 | It really is super useful
for any number of purposes.
| | 02:30 | Anyway, I am going to go ahead
and choose it here I am inside the
| | 02:33 | Transform effect dialog box.
| | 02:34 | I am going to turn on the preview so
I can keep track of what I am doing.
| | 02:36 | And I am just going to nudge these move
values very slightly, 0.25 points. That's all.
| | 02:42 | And then same for
vertical, 0.25 points, like that.
| | 02:45 | Notice that we get sort of this offset effect.
| | 02:48 | Now I want it to go to the other direction.
| | 02:50 | So I am going to change these
values to negatives, both of them.
| | 02:54 | And then press the tab
key and that's pretty nice.
| | 02:56 | It goes and moves the
strokes down and to the left.
| | 02:59 | Now I'll click OK, in order to apply the effect.
| | 03:03 | And I am going to zoom in just so I
can get better sense of what these
| | 03:06 | letters actually look like, because when
we're zoomed out, it's a little bit hard to tell.
| | 03:12 | Good, so, so far so good.
| | 03:13 | Let's add another stroke.
| | 03:15 | So, when the stroke is active here
inside the Appearance palette, I am going to
| | 03:19 | click on the little page icon here
in order to add a second one.
| | 03:22 | Then I'll click on the Stroke item
and I am going to change some values.
| | 03:26 | I am going to raise the Cyan value to
40 and I am going to change the Magenta
| | 03:30 | value to a 100 and then I am going
to take the K value down to zero.
| | 03:34 | So we've got 40, 100, 0, 0, like so, and
let's go ahead and take the Line weight
| | 03:39 | up to 4 points and see what happens with it.
| | 03:41 | Now, it still approximately
centered even though it has a little bit of
| | 03:44 | transform associated with it.
| | 03:46 | Now that we have a thicker stroke,
we can barely tell that's happening.
| | 03:49 | So let's go ahead and Twirl open stroke
and double click on that Transform and
| | 03:54 | raise the value so it
makes more of a difference.
| | 03:56 | I am going to turn on Preview and I am
going to take both the Horizontal and
| | 03:59 | Vertical values down to negative 0.75 a
piece, looking good so you can see how
| | 04:06 | it gets a Beveled appearance.
| | 04:08 | We keep scooting the strokes incremently.
| | 04:10 | Now I'll click OK in order to accept
that change, and with this stroke item
| | 04:15 | selected, I will click on the
new icon again at the bottom of the
| | 04:18 | Appearance palette. Click on Stroke.
| | 04:20 | Let's go ahead and take that weight
value up to five points this time around,
| | 04:25 | and I am going to raise the Cyan value to 80.
| | 04:29 | The Magenta value can't really go any higher.
| | 04:31 | Let's take the Yellow value up to ten
and the K value, I am thinking something
| | 04:36 | like 40 at this point, so it's a
pretty rich color, very dark, of course.
| | 04:41 | And let's twirl Open Stroke, double
click on Transform, turn on preview so we
| | 04:47 | can see what we're doing, and I am
going to change this values to 1.5 a piece.
| | 04:52 | I believe that's going to
get us the desired effect.
| | 04:55 | And sure enough, it does.
| | 04:56 | So we get a very Beveled effect to out letters.
| | 04:59 | Now what are you'll frequently see is
people build up these kinds of effects.
| | 05:03 | This is not uncommon, but usually they
are building up these kinds of effects
| | 05:07 | manually by assigning a stroke, doing
a copy, doing a paste in front, doing a
| | 05:11 | slight off set, reducing the stroke,
doing a copy, doing a paste in front, doing
| | 05:15 | a slight offset, do a
reducing stroke, that kind of thing.
| | 05:17 | And what that means is if you make a
change to any one of your text blocks, you
| | 05:23 | have to go through and
change all the other ones as well.
| | 05:25 | This way you've got it one central
text block that has a bunch of live
| | 05:29 | effects applied to it.
| | 05:30 | So, one change effects everything,
effects all of the offset stroke, a much
| | 05:35 | smarter way to work.
| | 05:37 | So there you are, very simple, very basic
application, I dare say, of live effects
| | 05:43 | combined with live text.
| | 05:45 | More ambitious stuff is coming right up.
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| Bending letterforms with Pucker & Bloat| 00:00 | All right. Let's try something slightly more ambitious.
| | 00:03 | This time, we are going to go in and
modify the actual letter forms of our type.
| | 00:09 | So, we are essentially customizing the typeface.
| | 00:13 | I'd like you to go ahead and open the
document called Beveled type.ai, if you
| | 00:16 | are just joining us.
| | 00:17 | It's inside of the 17 dynamic type folder.
| | 00:21 | Then, with the black arrow tool, go
ahead and click on the THIM THUMBLESON!
| | 00:25 | here, in order to select it and if you
bring up the Character palette from the
| | 00:29 | Control palette, you will
see that the Font is Birch Std.
| | 00:32 | Assuming that you have Birch Std
installed on your machine, that is, you will see
| | 00:36 | the text in all of its glory here.
| | 00:39 | But imagine that I want the letter forms to
tuck in a little bit, especially at the serifs.
| | 00:44 | Why, then I would go up to the Effect menu,
I would choose Distort & Transform and I
| | 00:50 | will choose Pucker & Bloat, one of the
notorious path wigglers here, and you
| | 00:55 | can see if you turn on the Preview
check box and you start modifying this
| | 00:58 | value, you can see that with very
little effort you completely ruin the
| | 01:02 | legibility of the type.
| | 01:03 | So, even moderate values like 50% and
bear in mind, you can go much higher with
| | 01:08 | Bloat, to like 200%, in which case you
get this text, right here, which I dare
| | 01:13 | say is difficult to read.
| | 01:15 | And if you want the text to be spiky
as opposed to sort of bulbous, then you
| | 01:20 | could go the Pucker direction, negative
with the value and again, we get some
| | 01:25 | pretty illegible type, pretty quickly.
| | 01:27 | If you go all the way down to the most
negative value, you turn your text in the
| | 01:31 | stocks of wheat or something.
| | 01:33 | I want a very moderate Pucker value.
| | 01:36 | I am going to change this value to -5%
and press the Tab key, just to invoke
| | 01:41 | that modification, and that looks pretty good.
| | 01:44 | We do have some minor spikes going on.
| | 01:47 | So click OK to accept that
modification and you will see that you now have
| | 01:51 | inside the appearance palette, you now
have Pucker & Bloat added to your list of
| | 01:55 | attributes assigned to the Type.
| | 01:57 | I am going to go ahead and zoom in on my text
and what I need to do is round off the corners.
| | 02:03 | And what I should be able to do, at
least it will be nice, is I should be able
| | 02:06 | to select all of the Strokes.
| | 02:08 | So click on one and Shift+Click on the
other in order to select that range of strokes.
| | 02:12 | Then I'd bring up the Stroke palette and I
would change all of the joins to Round Joins.
| | 02:18 | Unfortunately, that doesn't take.
| | 02:20 | It does take for the very first stroke,
the top one, the 1.5 black one, but it
| | 02:25 | doesn't take for the other two.
| | 02:26 | So you are going to have to click on it
manually and then select Round Join and
| | 02:30 | then click on the dark purple one, manually.
| | 02:33 | You can see that those are only
spikes left and then click on the Round
| | 02:36 | Join for that as well.
| | 02:37 | And then you get this very
interesting Type effect, I think.
| | 02:40 | If you zoom in on it, you can see that we
have these Doctor Suess sags in the type.
| | 02:45 | I think it's very nice.
| | 02:46 | Kind of a cartoon effect, of course,
which I tend to be partial to, I am afraid.
| | 02:51 | Anyway, I am going to go ahead
and collapse that Stroke palette.
| | 02:54 | Now the wonderful, delightful thing
about every Live Effect that we have applied
| | 02:58 | so far is that our text remains
editable and we have assigned every one of our
| | 03:04 | effects to one block of text.
| | 03:06 | So it's one stop editing.
| | 03:09 | So if my editor comes to me and
she says, "Hey! You know what?
| | 03:12 | "I have told you a million times.
| | 03:13 | "It's not THIM THUMBLESON!
| | 03:15 | "Its THUM THIMBLESON!" then I can just
grab my Type tool here and I can select
| | 03:20 | the I. Oh, this is an interesting
thing that you may run into in Illustrator.
| | 03:24 | It's telling me that the text was
created in the previous version of the program
| | 03:27 | and the editing may change your text layout.
| | 03:30 | Do you want to continue?
| | 03:31 | Well, of course you want to continue.
| | 03:32 | I would say, Don't Show Again and
click OK, If I were you. Here is the deal.
| | 03:37 | Illustrator, just like all of the Adobe
applications, is constantly updating its text engine.
| | 03:43 | The Type department at Adobe just
never stays still, and as a result, every
| | 03:48 | single version of the software,
you go through this stuff.
| | 03:51 | You go through this gosh, the text
engine has been changed and it's going to
| | 03:55 | completely blow up your type
and really nothing happens.
| | 03:58 | That's the funny thing about it is.
| | 04:00 | Barely anything happens to
the text, if anything at all.
| | 04:02 | In our case, nothing is going to happen.
| | 04:04 | It looks exactly the same.
| | 04:06 | So go ahead and select the I. Replace
it with a U. You don't have to press
| | 04:10 | the Shift key or Caps Lock key and then
replace the U with an I and you are in business.
| | 04:14 | You actually did a few things.
| | 04:16 | You not only modified your
type, you edited your Type.
| | 04:19 | You edited all of the Live Effects as
well and, of course, you updated the Type
| | 04:23 | for Illustrator CS3. So, good job.
| | 04:26 | Way to go.
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| Selecting text by its baseline| 00:01 | In this exercise, I would like to
discuss a problem that you may encounter when
| | 00:05 | selecting text and I will
show you a way to resolve it.
| | 00:08 | Now the problem is that Illustrator
goes out of its way to prioritize text.
| | 00:13 | So when you are out there selecting
objects inside of your Illustration, if you
| | 00:17 | come within a mile of your text,
Illustrator is going to select that text
| | 00:20 | instead of an object behind it.
| | 00:22 | For example, we are down here with THUM
THIMBLESON, of course, and you can see
| | 00:27 | the smock of the Ghost Robot in the background.
| | 00:29 | If I click here on the smock,
notice what happens. I select the text.
| | 00:34 | It's like, what? How much farther away could I be?
| | 00:37 | If I am down here, finally, it
will go ahead and select the smock.
| | 00:40 | But if I am at this point, right there,
it will deselect the smock and select
| | 00:44 | the text instead and it gets even
worse if you start getting impatient.
| | 00:47 | You go, well, click, click, click, you know, and
you're all of a sudden, "Oh my gosh. I switched
| | 00:51 | "to the Type tool and I selected all of my
type because I triple-clicked, accidentally."
| | 00:57 | So notice you can now see the area in
which - if you click inside this highlight
| | 01:02 | area right there, you are going to
select the text and not the graphic and it's
| | 01:05 | a big pain in the neck, in my opinion.
| | 01:08 | Sometimes it's very useful, especially
if most of what you want to select inside
| | 01:12 | of a document is text, then it's a good thing.
| | 01:14 | But if you are dealing with a
document like this where you have got a ton of
| | 01:17 | path outlines as well, why, then this
feature becomes quite intrusive and here
| | 01:23 | is how you turn it off.
| | 01:24 | You press Ctrl+K, or Command+K on the
Mac in order to bring in the Preferences
| | 01:28 | dialog box and then you
switch from General to Type.
| | 01:32 | And then the first checkbox says,
Type Object Selection by Path Only.
| | 01:35 | Go ahead and turn it on.
| | 01:37 | Now it's kind of one of
those handholding functions.
| | 01:39 | It's of great use to people who are
just learning how to use the program.
| | 01:42 | But at this stage in the game, being
that we are now in the advanced techniques
| | 01:47 | section of Illustrator CS3 one-on-one,
you should generally, usually have this
| | 01:54 | checkbox turned on so that it requires
you to click on the baseline or on the
| | 01:59 | frame for some text, for a
text block in order to select it.
| | 02:03 | All right, having done that, go ahead
and click on OK and now notice if I click
| | 02:08 | over here, I select the smock.
| | 02:09 | If I click in between the letters, I
go ahead and select something inside
| | 02:13 | that background robot.
| | 02:14 | If I click there, oh this is the, I know,
this is a blend. That's why I can't select it.
| | 02:19 | Right there, though,
should be an object in there.
| | 02:21 | So I can select through letters and I
can get to items all over the place.
| | 02:25 | In fact, I can click directly on a letter.
| | 02:27 | Like right here there should be the cape.
| | 02:30 | If I click right there, I will go ahead
and select the cape as opposed to the E,
| | 02:34 | because in order to select the text I
now have to click on the baseline for the
| | 02:38 | text, which is really a good thing.
| | 02:40 | It means that you have to be more
careful when selecting text, but it also
| | 02:44 | means you have way more freedom when you are
selecting other things inside of your Illustration.
| | 02:50 | All right, so just a little tip from me to you.
| | 02:52 | Enjoy.
| | Collapse this transcript |
| Warping text without an envelope| 00:01 | In this exercise, I am going to
show you how to apply an envelope-styled
| | 00:03 | distortion to live text without ever
entering the envelope, meaning we are not
| | 00:08 | going to have that problem where you
can either edit the envelope or edit the
| | 00:11 | contents of he envelope, but not both.
| | 00:14 | We will be able to do both,
| | 00:16 | thanks to yet another live effect.
| | 00:18 | So I am working inside of a
document called Thumb pucker.ai.
| | 00:21 | That's found inside the 17 Dynamic
Type folder, so called because Thumb's
| | 00:27 | name has been puckered.
| | 00:28 | All right, now I want you to press Page Up.
| | 00:31 | If you are like me and you just want
to get up here to this title of the
| | 00:35 | magazine title very quickly and you will
notice, of course, it's called FIST FULL O'FICTION.
| | 00:39 | What I want to do is I want to
FICTION and bend it inward on both sides
| | 00:43 | and then I want to bend FIST FULL O' down to
meet it in SEMI-MONTHLY, JULY/AUGUST 2174.
| | 00:49 | I want to bend it up to meet the
bottom of the FICTION Type as well.
| | 00:55 | Now, I want you to select the word
FICTION here by clicking on its baseline.
| | 00:58 | Very important now that you click on
the baseline in order to select your text,
| | 01:02 | thanks to the Preference settings that
we adjusted in the previous exercise.
| | 01:06 | Now, go up to the Effect menu and
chose the Warp command and notice you have
| | 01:12 | access to all of the Warps that are
included with Illustrators Envelope function.
| | 01:17 | I want you to choose the Bulge command and
go ahead a turn on the Preview check box.
| | 01:23 | Now you will see that the
text is going to bulge out at us.
| | 01:26 | That's exactly the
opposite of the effect we want.
| | 01:29 | So we will just go ahead and bend it to the
other direction here by reducing the Bend value,
| | 01:33 | and that sends the text inward. All right.
| | 01:36 | After a little experimentation here, I
come up with a Bend value of negative
| | 01:40 | 7%, and we need to remember that
because we are going to use that exact same
| | 01:44 | value, or a positive version of it,
in order to bend FIST FULL O' and
| | 01:48 | SEMI-MONTHLY down here.
| | 01:50 | So click OK to accept that modification.
| | 01:53 | Now, let's get FIST FULL O' by clicking
on its baseline, and even though we want
| | 02:00 | to apply a different style of Warp
this time around, a different envelope
| | 02:05 | distortion, we can still go ahead and
choose the Bulge function, the second
| | 02:08 | command here inside the Effect menu.
| | 02:10 | And if we Preview that we will go
ahead and Bulge the text inward.
| | 02:13 | That's not really what we want.
| | 02:15 | We want something where we can
actually arc the text, for example, like this
| | 02:18 | arc the text down by -7%, actually matches
the arc of the tip of the FICTION letters.
| | 02:25 | However, we are also arc-ing the top
of the FIST FULL O' letters and I don't
| | 02:29 | want that to happen.
| | 02:30 | I just want to arc the bottom of the letters.
| | 02:31 | So I am going to switch to this guy
right there, Arc Lower and now, because it's
| | 02:37 | bending in the wrong direction, I am
going to have to switch to Bend value from
| | 02:40 | negative to positive,
and then press the Tab key.
| | 02:43 | It works out beautifully. Awesome.
| | 02:45 | All right, now click OK and let's get
my SEMI-MONTHLY down here and we will go
| | 02:50 | up to the Effect menu.
| | 02:51 | We will choose Bulge.
| | 02:52 | It's still showing up as Bulge
even though we switched to Arc Lower.
| | 02:56 | And it showing me Arc Lower
though, that's nice.
| | 02:59 | This time, I believe we want Arc Upper.
| | 03:01 | Let's go ahead and click on the
Preview check box and see what happens.
| | 03:04 | That is perfect and we will click OK
in order to accept that modification.
| | 03:08 | Now look in the
Appearance palette. There it is.
| | 03:11 | We can see that we have a
Warp and the styles Arc Upper.
| | 03:14 | If we don't like it, all we have to
do is double click on the Effect and we
| | 03:17 | can modify the settings to our hearts
content, and let's say my editor comes in
| | 03:22 | and she goes, "Hey!
| | 03:23 | "Do you realize that you are not a SEMI-MONTHLY,
| | 03:27 | "if you publish one issue every two months.
| | 03:29 | "You are a bi-monthly."
| | 03:30 | And I am sitting there going, "What!?"
| | 03:32 | "I have been publishing this magazine
for a 100 years now, and this is the first
| | 03:36 | "time somebody tells me this." Oh, well.
| | 03:38 | Got to make the change.
| | 03:40 | Now I want to edit it and I am going to edit
this text by double-clicking on its baseline.
| | 03:44 | Very important that you double-click
on the baseline and not elsewhere inside
| | 03:47 | the letters because after all, we changed
that Preference setting in the previous exercise.
| | 03:51 | I am now going to drag low over the word SEMI.
| | 03:55 | It might seem weird that we are having
to drag so low over the text, but bear
| | 04:00 | in mind, if you press Ctrl+Y, or Command+Y
on the Mac, the text is actually down here.
| | 04:05 | It's been only in a Preview mode and
your selection highlights are showing up in
| | 04:08 | the outline mode, essentially. All right.
| | 04:10 | I am going to press Ctrl+Y, or Command
+Y on the Mac to switch back into the
| | 04:14 | Preview mode and I am going to change this
text to BI, like so BIMONTHLY. All right.
| | 04:20 | Fair enough.
| | 04:21 | And now I need to select all the
text by, oops, did I click off of it?
| | 04:26 | We will see by clicking, triple-clicking on it
or you know that's turning out to be little hard.
| | 04:30 | So I am going to press Ctrl+A or
Command+A on the Mac in order to select all
| | 04:35 | of that text and then I will press
Ctrl+Alt+Right Arrow, this would be
| | 04:39 | Command+Option+Right Arrow on the Mac, until I
have tracked the characters outward, like so.
| | 04:45 | So that that is spread across the
entire width of FICTION, for example.
| | 04:49 | Then I will press Ctrl+Enter or Command+
Return in order to except my modifications.
| | 04:54 | So that's how you go about applying
envelope style distortions without ever
| | 04:59 | entering the envelope and also how
that grants you unique access to both your
| | 05:03 | Envelope Distortion settings and your
live text without having to switch
| | 05:08 | modes even once.
| | Collapse this transcript |
| Adding dynamic attributes to type objects| 00:01 | Starting in this exercise, I'm going to
be showing you not only ways to achieve
| | 00:05 | still more cool dynamic effects, but
also ways to troubleshoot those effects.
| | 00:10 | Basically, what we're doing here in
Illustrator is we're marrying the old world
| | 00:14 | of Type, because Type is
an Illustrator 1.0 feature.
| | 00:17 | We're marrying that along with the new
world of dynamic effects and things don't
| | 00:23 | always mesh the way that you think they would.
| | 00:25 | So I want to show you a few
workarounds, here and there, just so that when you
| | 00:29 | are actually applying your own
dynamic effects you're not banging your head
| | 00:32 | against the screen.
| | 00:34 | I have closed the Ghost Robot document.
| | 00:37 | Notice that we are totally done with
Ghost Robot, by the way, and we're working
| | 00:41 | inside of a document now called Showboat.ai.
| | 00:44 | That's found, once again,
inside the 17_Dynamic_Type folder.
| | 00:48 | It comes to us by way of a
poster for a direct to video movie.
| | 00:53 | Now, when you open this
illustration, you might get a font warning.
| | 00:56 | I'm using some fonts that ought to be
on your system if you own the entire
| | 01:01 | Creative Suite 3.0 and these fonts
include Myriad Pro and Brush Script and
| | 01:06 | Mesquite as well, one of Adobe's Wood fonts.
| | 01:09 | If you're having problems opening the
document, if it gives you a font warning,
| | 01:13 | why then you can just watch along with me
if your document's a total mess on screen.
| | 01:18 | Let's start things off by looking at
this text right here, this text on the path
| | 01:23 | that has, notice if I zoom in on it
here you can see that it's got a little bit
| | 01:27 | of a Bevel Effect associated with it, so
it has an offset stroke and we're going
| | 01:32 | to be creating that offset stroke,
recreating it inside of this exercise.
| | 01:37 | If you go over to the Layers palette, you'll
notice there is a layer called Type on arc.
| | 01:41 | Go ahead and twirl it open.
| | 01:42 | Inside there, we've got
Misfits front and Misfits back.
| | 01:46 | So I'm actually creating that black stroke as a
separate path that's offset in the background.
| | 01:52 | We don't want to work that way.
| | 01:53 | We want this to be a dynamic effect,
meaning that if we find a typo here
| | 01:57 | inside of our text, we can just go ahead and
edit one text block instead of two text objects.
| | 02:03 | So let's go ahead and grab
Misfits back and throw it in the trash.
| | 02:07 | I'm just going to go ahead and drag
it down here to the trash to delete it.
| | 02:10 | Then I'm going to click on the
baseline for Misfits of the High Seas in the
| | 02:14 | Ground, blah, blah, blah there, which
grabs the Misfits front item here inside
| | 02:19 | the type on arc layer.
| | 02:22 | I'm going to go ahead and add an offset
stroke to it, and I'll do that from the
| | 02:25 | Appearance palette, of course.
| | 02:26 | And I notice, when I go to the
Appearance palette, it's telling me that I
| | 02:29 | have Type selected and there are some
characters, but it's not showing me fill or stroke.
| | 02:34 | So where are the Fill and Stroke attributes?
| | 02:37 | Certainly, there is no stroke
associated with this Type right now, but there is
| | 02:40 | a fill, so what the heck is going on?
| | 02:43 | Well, in order to see that you need to
go down to Characters, in other words,
| | 02:47 | Type, this Type object
includes these characters right here.
| | 02:51 | If you want to go inside, I've already
shown you how you can go outside of an object.
| | 02:55 | You go up the hierarchy by clicking on
Group, for example, to click upwards, and
| | 03:00 | all you have to do is click in
order to go up the hierarchy.
| | 03:03 | If you want to go down the hierarchy,
if you want to go inside the Type, you
| | 03:06 | have to double-click.
| | 03:07 | So double-click on Characters and
notice that does a couple of things.
| | 03:10 | Not only does that select the
Characters and make them active, but it also
| | 03:14 | switches you to the Type tool, here
inside the toolbox, and it goes ahead and
| | 03:17 | highlights the Type as well,
down at the bottom of the screen.
| | 03:21 | Now we can see there is the fill. Awesome!
| | 03:23 | Okay. So there is my stroke.
| | 03:24 | I'll go ahead and click on it and I'll set
it to black in order to make a black stroke.
| | 03:29 | Now at this point, this stroke looks
pretty heavy and it's also sort of gumming
| | 03:32 | into the characters here so it's
making the characters look pretty bad.
| | 03:35 | I want to send the stroke in
back of the fill and then offset it.
| | 03:39 | So I'll go ahead and drag that stroke,
of course, and drop it underneath the
| | 03:43 | Fill and that didn't work. All right.
| | 03:45 | So let's do it again.
| | 03:47 | So for some reason, this isn't working at all.
| | 03:50 | Not only that, if I go ahead and click
on the Stroke to make it active and I go
| | 03:54 | up to the Effect menu and I choose
Distort & Transform in order to bring up the
| | 03:57 | Transform function, it's dimmed.
| | 04:00 | What in the heck is happening?
| | 04:01 | Well, basically, none of these dynamic
effect options, these live effect options
| | 04:06 | here is applicable to type that
is selected with the Type tool.
| | 04:10 | So how do we get around this problem?
| | 04:12 | Well, I go ahead and escape out there.
| | 04:14 | Let's go ahead and undo the addition of the
stroke because it's not going to do us any good.
| | 04:18 | If we can't undo it I'm having
problems because I've applied so many
| | 04:21 | different operations here.
| | 04:22 | I'll just go ahead and drag it to the
trash to get rid of it, then I'm going
| | 04:26 | to go back up to Type.
| | 04:28 | So all you have to do this
time is just click on Type.
| | 04:30 | You don't have to double-click like you
did to go down the hierarchy, so it's a
| | 04:34 | double-click to go inside of an object.
| | 04:36 | It's a click to go out, here
inside the Appearance palette.
| | 04:39 | That switches me back to having the Type
selected as if I had the Black Arrow tool active.
| | 04:45 | I happened to have the Type
tool active but that's okay.
| | 04:46 | I can switch back to
Selection tool if I want to.
| | 04:49 | Now what I need to do is apply my Fill &
Stroke attributes here, at this position
| | 04:55 | and I'm going to do that from the keyboard.
| | 04:56 | I'll just add a fill because I
definitely need to have a fill in place.
| | 04:59 | I'll press Ctrl+Slash or that would be
Command+Slash on the Mac, in order to
| | 05:04 | add a Fill attribute.
| | 05:05 | Let's go ahead and make it white and
notice that it not only added a Fill
| | 05:09 | attribute here, it also
added a blank Stroke attribute.
| | 05:12 | So now, let's grab that Stroke attribute.
| | 05:14 | Go ahead and click on Black in order
to make it black and I'm going to raise
| | 05:18 | this stroke actually to two points,
because I want it to be heavier than this,
| | 05:21 | so it's a nice heavy terrible
looking stroke at this point.
| | 05:24 | Let's move it behind the fill.
| | 05:26 | This time, it works because we have the
Type selected with the Black Arrow tool.
| | 05:31 | Then I'll click on Stroke to make it active.
| | 05:33 | We'll offset it by going up to the
Effect menu, choosing Distort & Transform,
| | 05:37 | choosing Transformm which is now available to us.
| | 05:41 | I'll go ahead and turn on the Preview
checkbox so I can see what I'm doing and I
| | 05:44 | want to change this Vertical value here,
this move value, to 0.5 points, which
| | 05:49 | goes ahead and moves the text slightly
upward so that we have this emboss effect
| | 05:55 | that I'm looking for, this bevel effect.
| | 05:57 | Then I'll go ahead and click OK in
order to accept the modification and now we
| | 06:01 | have this nice bevel effect
associated with one text block, one block of
| | 06:07 | LiveType, meaning that I could modify my
Type if I wanted to by grabbing my Type
| | 06:12 | tool, of course, and dragging over a
word and changing that word to something
| | 06:17 | different and it will go ahead
and edit all the effects at once.
| | 06:21 | The obvious benefits, of
course, of working with LiveType.
| | Collapse this transcript |
| Creating terraced beveled edges| 00:01 | I am still working inside the same
Showboat.ai document that I opened in
| | 00:05 | the previous exercise.
| | 00:06 | If you were not with us for the
previous exercise, and you were to open this
| | 00:10 | document right now, the only
difference that you would see, assuming that all
| | 00:13 | your fonts are in place, is that instead
of the Low Seas, down here at the bottom
| | 00:17 | of my screen, you will see the High Seas.
| | 00:20 | No big deal, of course, because what
I am going to introduce to you now has
| | 00:24 | nothing to do with that type of the
bottom of the screen and everything to do
| | 00:27 | with is big text right here, Freak Showboat.
| | 00:31 | And I want to show you how to create a
more elaborate beveled effect, and, of
| | 00:34 | course, along the way we're going to see
all kinds of ways to apply more dynamic
| | 00:38 | effects to live text inside of the Illustrator.
| | 00:41 | What I've got here is a series
of terraced edges, as you can see.
| | 00:45 | So the text sort of drops
down, one step after another.
| | 00:49 | So three different beveled edges in all,
sort of an old style wood cut effect
| | 00:54 | apply to one of Adobe's Wood fonts, Mesquite.
| | 00:57 | In this exercise, I am going to show
you how this effect is put together
| | 01:01 | and then we'll begin to assemble the effect
for ourselves, starting in the next exercise.
| | 01:06 | So inside the Layers palette, let's go
ahead and twirl close Type on arc and
| | 01:10 | twirl open Outlines, which
represents the Freak Showboat text, of course.
| | 01:14 | You will see that there are three
objects inside of this Outlines layer.
| | 01:20 | They are all groups of text that
has been converted to Outlines.
| | 01:23 | So I am going to go ahead and turn off
main letters and inner, so that we can
| | 01:28 | see the background text right there.
| | 01:30 | I will meatball it so that we can see
yes indeed this is text that has been
| | 01:33 | converted to Outlines meaning that
it's static, meaning that we can't edit
| | 01:37 | it with the Type tool.
| | 01:39 | So we really don't have that interplay
of dynamic effects and live text going on.
| | 01:43 | We do have an interplay of dynamic
effects and static path outlines, instead.
| | 01:49 | Now I've had to resort to that because
I've got gradients assigned, not only
| | 01:53 | dynamic effects, which we can see
here inside the Appearance palette.
| | 01:56 | We've got a couple of drop shadows, for
example, but we also have some gradients
| | 02:00 | assigned and we have a double gradient
effect, one gradient on top of another,
| | 02:04 | and that's something that, as we'll see,
as you'll see in a subsequent exercise
| | 02:07 | here, really causes us problems when we're
trying to work with live text. All right.
| | 02:13 | In front of that, I've got this text
right here. That's called inner and it's the
| | 02:18 | inner edge, the next edge up.
| | 02:21 | It's also converted to outlines just
because I converted everything to outlines.
| | 02:25 | We have two different fills, one
for Freak and one for Showboat.
| | 02:28 | That's not difficult to apply inside of
Illustrator, because they're just flat
| | 02:31 | fills after all, but the next effect,
if you go up to main letters and meatball
| | 02:36 | it, you can see that we've got, once
again, Type converted to Outlines.
| | 02:41 | We've got two different gradients
going on one for Freak, one for Showboat.
| | 02:45 | You may recall a few chapters back,
when I was telling you about gradients and
| | 02:48 | gradient mesh, there is a way around
the fundamental incompatibility between
| | 02:53 | text and gradients inside of Illustrator.
| | 02:56 | But it doesn't work when we have one
gradient on top of another, the way we do here.
| | 03:01 | So we'll ultimately have to resort
to converting our Type to Outlines.
| | 03:05 | But I would like to
avoid it as long as possible.
| | 03:07 | So we're going to create half of this effect.
| | 03:10 | These two terraced layers down below,
we're going to create them as live effects
| | 03:16 | on top of LiveType and then we will
ultimately resort to converting the Type to
| | 03:20 | Outlines for the very top text effect
here, and you'll learn why and how over the
| | 03:26 | course of the next exercises.
| | Collapse this transcript |
| Applying Pathfinders as Live Effects| 00:00 | All right, then. Our mandate is to create these
terraced beveled edges and, where possible,
| | 00:07 | we're going to apply them to LiveType
here inside of Illustrator and then when
| | 00:11 | it becomes impossible to do so any longer,
we're going to switch over to static path outlines.
| | 00:17 | I am still working inside of the
document called Showboat.ai. That's found inside
| | 00:22 | the 17_Dynamic_Type folder.
| | 00:24 | I would like you to go ahead and
turn off, here inside the Layers palette,
| | 00:27 | turn off the Outlines layers, and in
back of the Outlines layer, you will see a
| | 00:32 | layer called LiveType.
| | 00:34 | Go ahead and twirl it open.
| | 00:35 | You'll notice that it has a single object.
| | 00:37 | Go ahead and meatball it and it is,
indeed, as you can see, indicated by
| | 00:40 | these baselines here.
| | 00:42 | It is indeed LiveType that
you can edit with the Type tool.
| | 00:44 | Now, our first step inside of this exercise,
| | 00:47 | we are going to create the rearmost
terraced beveled edge and we're going to do that
| | 00:53 | using a combination of the Offset and
Add effects from the Effect menu and then
| | 00:59 | later in the next exercise, we're going
to apply some drop shadows and then in
| | 01:02 | the exercise after that, we'll begin
adding the other terraced edges. All right.
| | 01:07 | So for starters, we know we're going
down the dynamic effects alley, right?
| | 01:13 | We know we're going to be
applying dynamic effects to our LiveType.
| | 01:16 | So, as I told you a couple of exercises
ago, it's a good idea to go here to the
| | 01:20 | Appearance palette and add a new fill
and work that way. Instead of relying of
| | 01:26 | the fill and stroke attributes that are
applied to the Characters of Type, that
| | 01:29 | are selectable with the Type tool,
| | 01:30 | heap on new fill and stroke
attributes that are more flexible here that are
| | 01:35 | assigned to the larger type object.
| | 01:38 | Even though I made that point a couple
of exercises ago, it's the kind of thing
| | 01:41 | that, based on my experience with the
program, you're going to forget to do.
| | 01:45 | You're not going to remember that
you have to go through that weird,
| | 01:47 | strange step there.
| | 01:48 | You're just going to start applying
your fill and stroke attributes the way
| | 01:51 | you normally would with your type and
everything is going to work okay for
| | 01:55 | awhile, as we'll see.
| | 01:57 | Then things are going to
start breaking down. All right.
| | 01:59 | So let's just go through that pain,
because it's a kind of pain that you're
| | 02:03 | going to experience on your own, I assure you.
| | 02:06 | So currently, I have the
stroke attribute active.
| | 02:09 | I would rather have the fill active, for
starters, and so I'll switch over to fill
| | 02:13 | at the bottom of the toolbox and then
I'll switch to my Swatches palette because
| | 02:17 | I've created the swatch in advance that
I want to use for this rearmost terraced
| | 02:21 | edge, and that's this guy right there, Brown.
| | 02:23 | So go ahead and click on it in
order to assign it to the fill.
| | 02:26 | Then let's also go ahead and assign a
stroke, and I'll do that by pressing the X
| | 02:31 | key to make the Stroke attribute active
and then I'll click on Black, in order to
| | 02:35 | give the text a black stroke.
| | 02:37 | Just to really make the next steps,
very, very obvious, I am going to
| | 02:42 | increase the line weight.
| | 02:43 | This isn't the line weight I am going
to stick with, but just so that we can
| | 02:46 | see what's going on very easily, I am going
to change this line weight value to 3 points.
| | 02:50 | So we have some very thick
strokes going on. All right.
| | 02:53 | Now, I want to call your
attention to the Appearance palette.
| | 02:56 | Notice that we're not seeing any fill or
stroke attributes assigned to the text object.
| | 03:00 | Instead, they're assigned
to the individual characters.
| | 03:03 | If you want to check that out, you
double-click on Characters and there indeed
| | 03:07 | are your stroke and fill attributes.
| | 03:09 | It's an exception to the rule,
frankly, inside of the Appearance palette
| | 03:12 | that even though Type was active,
the fill and stroke attributes get
| | 03:17 | assigned to Characters instead.
| | 03:19 | Anyway, here they are.
| | 03:21 | We've got the Fill and Stroke
attributes that we want to work with.
| | 03:24 | Now I want to go ahead and offset my
type to make it thicker, so we get those
| | 03:29 | outer terraced edges.
| | 03:30 | So I'll go up to the Effect menu, I'll
choose Path and then I'll choose this guy
| | 03:35 | right there, Offset Path.
| | 03:37 | I am going to turn on the Preview
checkbox so I can see what I am doing.
| | 03:41 | Notice that, by default, it wants to
offset of the character is 10 points which
| | 03:44 | makes them way bigger, way thicker. I
want to take them up to 6 points and then
| | 03:49 | I'll press the Tab key to update that
preview and then I'll click OK. All right.
| | 03:54 | So, I've made my characters thicker.
| | 03:55 | That's great, but notice that
because each and every character is stroked
| | 04:00 | independently that the
strokes overlap each other.
| | 04:04 | So we have one stroke
overlapping onto an adjacent letter.
| | 04:07 | I don't want that to occur.
| | 04:09 | I want smoothness between the letters here.
| | 04:12 | So I am going to combine the letters
together using a pathfinder operation, Add.
| | 04:17 | Now you might think, in this case,
well, we would go over to the Pathfinder
| | 04:21 | palette and we would click
on the Add mode, right there.
| | 04:24 | But that doesn't work when we're trying
to combine individual letters inside of
| | 04:28 | a live text object. Instead what we have to do, so go
ahead and close that palette.
| | 04:33 | Instead, what we have to do is go to the
Effect menu, choose Pathfinder and then choose Add.
| | 04:38 | So all of the pathfinder operations
are available as live effects as well.
| | 04:43 | Sometimes you need to call them up,
especially when you're heaping live effects
| | 04:47 | on top of each other or when you are adding
pathfinder effects to type, as we are here.
| | 04:52 | So, I am going to go ahead and
click on Add and notice what happens.
| | 04:55 | It goes ahead and adds the
characters together so that we get rid of
| | 05:00 | those intersecting stroke outlines so that the
stroke outlines the larger joined characters.
| | 05:05 | All right.
| | 05:06 | That's all we're going to do for now.
| | 05:07 | I am going to go ahead and
take this line weight down though.
| | 05:09 | I don't want to really be 3 points thick.
| | 05:12 | That's way too thick.
| | 05:13 | I'll take it down to 0.5, like so.
| | 05:17 | There we have it, some letters that are
glommed together using the Offset and Add functions.
| | 05:22 | Inside of the next exercise, we will
apply a couple of drop shadows in order to
| | 05:27 | create the beveling effect.
| | Collapse this transcript |
| The double drop shadow| 00:01 | In this exercise, I am going to show you
how to create a Double Drop Shadow Effect,
| | 00:04 | the idea being that the first drop
shadow is going to convey the beveled edge.
| | 00:09 | So it's going to convey the depth of the
letters and then the second drop shadow
| | 00:15 | will be the shadow itself, the
shadow that the letters are casting.
| | 00:18 | If you want to catch up with me, I
am working inside of a document called
| | 00:21 | Terraced edge.ai. That's found
inside the 17 Dynamic Type folder.
| | 00:26 | I am working in the Live type layer,
here inside the Layers palette, and I have
| | 00:30 | gone ahead and selected freakshowboat,
which is the live type here set in the
| | 00:35 | font Adobe Mesquite, and I have gone
ahead and offset my text and added it
| | 00:41 | together, added the letters
together using dynamic effects.
| | 00:45 | Now I want you to go up to the
Effect menu, with this text selected, and
| | 00:49 | choose Stylize and then Drop Shadow and we
might as well see what we are doing, as usual.
| | 00:55 | So go ahead and turn on the Preview checkbox.
| | 00:57 | Illustrator likes to keep the Preview
check boxes turned off by default, when
| | 01:02 | working with live effects, just so
that it doesn't waste any of your time, if
| | 01:05 | you don't want it wasted. All right.
| | 01:07 | I am going to set the Opacity value to 100%.
| | 01:10 | I am going to change the X Offset value to zero
because we want the shadow to go straight down.
| | 01:16 | I will rein in Y Offset value a
little bit by taking it down to 2 points
| | 01:21 | and then I will take the Blur value down to
zero, because I don't want any blur whatsoever.
| | 01:26 | I want a nice tight edge, like this
here, and I am going to switch from Color
| | 01:30 | over to Darkness, to a Darkness of 100%,
just so that we are not worried about
| | 01:34 | imbuing any color into our beveled edge, so
that we are working with absolute blackness here.
| | 01:40 | And I do have, as I say, a Darkness
value of 100% and I will click OK in order
| | 01:45 | to accept that modification.
| | 01:47 | So that's the first drop shadow and
you can see that it does give our terraced
| | 01:51 | outline a little bit of a
beveled edge there. All right.
| | 01:53 | Now let's revisit that exact same command.
| | 01:56 | Go up to the Effect menu, choose
Stylize and choose Drop Shadow and of course,
| | 02:01 | Illustrator is going to grump at us and say,
| | 02:03 | "Well, wait a sec, if you want to edit your
last drop shadow, this isn't the way to do it."
| | 02:07 | That's okay.
| | 02:08 | I am going to say Apply New Effect in
order to apply another drop shadow to my text.
| | 02:14 | This time around I am going to turn on
Preview, of course, so I can see what I
| | 02:17 | am doing and notice that it's
dropping down the text even further.
| | 02:20 | So it's applying this drop shadow to
the previous drop shadow and this time, I
| | 02:25 | am going to change the Y Offset value
to 6 points, and then I will change the
| | 02:29 | Blur value to 4 points in
order to get this effect here.
| | 02:32 | So, a nice deep drop
shadow that we are applying.
| | 02:36 | No use in being subtle for this
effect, and I will click OK in order to
| | 02:40 | accept that modification.
| | 02:42 | And there we have it, a nice double
drop shadow effect, again, first to convey a
| | 02:47 | beveled edge and then to
convey the shadow itself.
| | 02:50 | Something we can't do, interestingly
enough, inside of other Adobe programs, but
| | 02:54 | we can do here inside of Illustrator.
| | Collapse this transcript |
| Prioritizing Live Effects| 00:00 | In this exercise, we are going to
take a little bit of a pit stop and I am
| | 00:03 | going to explain what's going on with
the order of these effects here inside of the
| | 00:08 | Appearance palette.
| | 00:10 | This is not need-to-know
information. It's just FYI.
| | 00:13 | It's a kind of thing that might come
up while you are working with dynamic
| | 00:16 | effects inside of Illustrator.
| | 00:17 | Then again, it might never come up for you.
| | 00:20 | If this information is too tweaky for
you, and I have to tell you, its pretty
| | 00:24 | propeller-head stuff, and you just
want to get back to creating your terrace
| | 00:28 | type, why then you have my full
permission to skip to the next exercise.
| | 00:33 | But if not, I would like to
direct your attention here to the
| | 00:35 | Appearance palette.
| | 00:36 | First, make sure that you
have the document opened.
| | 00:38 | I happen to be working inside of a
catch up document called Double drop.ai,
| | 00:42 | found inside the 17 Dynamic Type folder.
| | 00:45 | So called, of course, because I have
two drop shadows applied to my text.
| | 00:49 | I have gone ahead and meatballed
freakshowboat here inside the Live type layer
| | 00:54 | so that my live type is selected, and I
have a sequence of live effects that I
| | 01:00 | have assigned to my type.
| | 01:02 | Now, remember, if you will, that when
we are working with the Layers palette,
| | 01:07 | its bottom up, right?
| | 01:08 | The lowest layer is shown at the
bottom of the stack and the highest layer is
| | 01:12 | shown at the top of the stack.
| | 01:13 | No mystery there, right? And when you are
heaping attributes on top of each other
| | 01:17 | inside the Appearance
palette, it works the same way.
| | 01:19 | The rearmost fill is at the bottom
of the stack and the topmost fill, the
| | 01:23 | frontmost fill, is at the top of the stack.
| | 01:26 | But for some strange reason, when you
are working with Live effects, they are
| | 01:30 | in the opposite order.
| | 01:31 | So the first live effect applied, the
one that's at the bottom, is shown at the
| | 01:35 | top and the one that's at the top is
shown at the bottom, is essentially
| | 01:39 | what's going on here.
| | 01:40 | So it's a mystery why Illustrator does that.
| | 01:43 | Another mystery is where
characters fits into the picture.
| | 01:47 | Now you can move these up and
down the stack. Check this out.
| | 01:50 | If I grab Add and I move it after
Characters, it totally goofs things up and the
| | 01:55 | Characters become gone,
they just disappear from view.
| | 01:59 | And I am not sure exactly what's
going on there, what the logic is behind
| | 02:02 | putting them in that order, but in
any case, if you run into that kind of
| | 02:06 | situation where, for some reason, an
effect disappears or all of your type
| | 02:10 | disappears, then just try dragging
the effect to a different location.
| | 02:14 | You can, however, even though Illustrator
automatically put the Drop Shadow items
| | 02:18 | after this Characters item,
| | 02:19 | you can move them before without
changing the appearance one ioda. All right.
| | 02:25 | So just bear in mind that this is
all according to the order in which we
| | 02:29 | applied these effects.
| | 02:30 | First, we started, a couple of
exercises ago, with Offset Path.
| | 02:33 | Then we applied Add.
| | 02:34 | Then we applied the first Drop Shadow.
| | 02:36 | This guy is the hard drop shadow, the
thin hard drop shadow, which conveyed the
| | 02:42 | beveled edge and then this second
Drop Shadow is the larger but softer drop
| | 02:47 | shadow, that is the shadow itself.
| | 02:49 | Now notice if you were to change the
order of these two drop shadows, like so,
| | 02:53 | then you would first apply the large
soft drop shadow, then you would apply the
| | 02:58 | thin hard drop shadow, and you would
get, ultimately, a big drop shadow going
| | 03:02 | around the entire edge
| | 03:03 | because the live effects keep on top
of each other. The last effect, this
| | 03:08 | guy right here, is applied to the product
of all of the other effects, as you can see.
| | 03:13 | Now notice what happens
| | 03:15 | if I move Add before Offset, if I
add the characters together before I
| | 03:19 | offset them, then that doesn't do any
good in terms of making sure that the
| | 03:23 | strokes don't overlap.
| | 03:24 | So it's essential that Add be after Offset.
| | 03:26 | Meanwhile, if I were to move the drop
shadow effects before Offset Path, I will
| | 03:31 | go ahead and move this guy up there and
then I will move this guy up to the very
| | 03:34 | top of the stack so that we reconcile
the order of the drop shadows properly.
| | 03:38 | You will notice that the drop shadows
are applying to the original letters
| | 03:42 | before offset is applied and that's
why this drop shadow get so much smaller.
| | 03:47 | So notice that this drop shadow is very
small here, where if I move it after Add,
| | 03:52 | it gets much bigger. All right.
| | 03:54 | I warned you, total propeller-head topic.
| | 03:57 | The only reason I bring it up is
because the order of these effects is entirely
| | 04:03 | dependent upon the order in which
you apply them in the first place.
| | 04:06 | You may not be so lucky that you always
apply your live effects in the right order.
| | 04:10 | In fact, it's very common to apply
your live effects in the wrong order.
| | 04:14 | If you get it wrong and you start to
get weird effects on screen, then bear
| | 04:17 | in mind that you can go to the
Appearance palette and you can change the
| | 04:20 | order of your effects.
| | 04:21 | Also, bear in mind that it's top down,
meaning that the first effect is on top
| | 04:27 | and the last effect is at the
bottom of the Appearance stack.
| | Collapse this transcript |
| Adding and adjusting live type attributes| 00:01 | The topic of this exercise is the
creation of the next terraced ledge on the edge
| | 00:07 | of these characters, tracing around
the outline of the characters, and you may
| | 00:10 | recall, if I bring back our final letters,
how we have an outside brown terraced
| | 00:15 | ledge and then we have an
inner purple terraced ledge.
| | 00:18 | It's purple for FREAK and then it
sort of this cream color for SHOWBOAT.
| | 00:22 | For the sake of simplicity, we are
going to make it one color for all the
| | 00:25 | letters, and we are going to make
it sort of a pink, as we will see.
| | 00:28 | All right, so I am going to go ahead and
turn off Outline so that we can see the
| | 00:33 | Live type layer and I have got
freakshowboat selected, the actual editable text
| | 00:38 | selected here, and if you want to
catch up with me, I am working inside of a
| | 00:41 | document called Double drop.ai.
| | 00:43 | That's found inside of the 17
Dynamic Type folder. All right.
| | 00:49 | Now this may seem like an easy matter.
| | 00:51 | We need to add a new fill attribute and
probably a new stroke as well and then
| | 00:56 | we need to apply Offset Path, a
different variation of Offset Path, and then
| | 01:00 | Add, and then maybe a Drop Shadow or two
to it, and that's it. Bang, we are done, right?
| | 01:04 | We already saw this inside of
the previous chapter when we were keeping
| | 01:09 | strokes on top of each other
for that Spyrograph effect.
| | 01:11 | Well, unfortunately, it's more
complex this time around and the reason is
| | 01:17 | because we purposely made that
mistake, a few exercises ago, of heaping our
| | 01:22 | live effects directly on to
attributes that are associated with the
| | 01:26 | characters of live type.
| | 01:27 | So instead of associating some
attributes with the Type object and then
| | 01:32 | assigning our live effects, we worked
kind of sloppy, in other words, and now it's
| | 01:38 | coming back to haunt us and I
will show you why it haunts us.
| | 01:41 | I have got my type selected.
| | 01:42 | I am going to go over here to the
Appearance palette menu and I am going to
| | 01:46 | choose Add New Fill and I will go
ahead and change that fill color to what I
| | 01:50 | want it to be eventually, which is
this guy right here, Bismol, here in the
| | 01:54 | Swatches palette for Pepto-Bismol pink.
| | 01:57 | And I will go ahead and click on it and
notice that it gets sort of interwoven
| | 02:02 | into the structure of the
live effects right here.
| | 02:06 | So it's just kind of in the middle of
the live effects right next to Characters.
| | 02:09 | I might say, "Oh, that's fine."
| | 02:11 | I will just move it to the top of the
live effects stack and then I can go ahead
| | 02:15 | and apply some new effects to it so
it's not affected by the other effects, but
| | 02:19 | that's not how it works.
| | 02:20 | If you try to drag it up, you are not
going to have any luck there, nor can you
| | 02:24 | drag it down with any degree of success either.
| | 02:26 | So it just kind of stuck in the middle
there, but the solution is to do what we
| | 02:31 | should have done in the first place,
is to go ahead and assign our existing
| | 02:35 | effects to this new fill, set to the
proper fill, set to brown and then make a
| | 02:41 | new fill on top of that, if you
are tracking what I am talking about.
| | 02:44 | If not, let me just show you.
| | 02:45 | With Fill active, I will go ahead and
change it back to Brown here inside the
| | 02:49 | Swatches palette and then I am
going to take Offset Path and Add.
| | 02:53 | I am going to click on one, Shift+
Click on the other and drag them both on to
| | 02:57 | fill and then I am going to go
down here grab the Drop Shadows.
| | 03:00 | Drop Shadow one and Shift+Click on Drop
Shadow two and I will scroll up a little
| | 03:05 | bit and drag them on to fill as well.
| | 03:08 | And I can go ahead and move them to
this location right there, exactly where
| | 03:11 | they need to be in the stack, and actually,
that's not where they need to be in the stack.
| | 03:14 | Let's go ahead and move Color up
and see if that helps, that it does.
| | 03:18 | Once again, you have to be aware that
you can move those live effects attributes
| | 03:22 | around inside of the Appearance palette.
| | 03:24 | All right, so we have essentially
recreated the effect with one notable
| | 03:28 | exception, and that is that we are
not seeing the stroke around our terraced
| | 03:32 | letters and we do need to see that.
| | 03:34 | So let's go ahead and click on Stroke.
| | 03:37 | Click on Black in order
to assign a black stroke.
| | 03:40 | Notice where that black stroke is.
| | 03:42 | It's the original position of the letters.
| | 03:45 | It's also too thick.
| | 03:46 | Notice that I have got it set to 1 point,
so knock it down to 0.5 point, like so.
| | 03:50 | Let's go ahead and twirl open Fill
and grab Offset Path and I want you to
| | 03:56 | Alt+Drag, or Option+Drag it on to the
Stroke item, like so, in order to duplicate
| | 04:04 | offset path on the stroke,
from fill on to stroke.
| | 04:07 | And then I wants you to grab Add and
go ahead and duplicate it as well by
| | 04:11 | Alt+Dragging it, or Option+
Dragging it into the Stroke location.
| | 04:15 | So we now have the 0.5 point stroke and
a brown fill that are working together
| | 04:20 | to create the back
terrace, the rearmost terrace.
| | 04:24 | Now I am going to click on Fill and I
am going to click on this New icon, right
| | 04:28 | there, in order to make a
new variation of that fill.
| | 04:31 | I am going to move it in front of
stroke and I am going to take that fill item
| | 04:35 | that has all of the live
effects associated with it there.
| | 04:38 | I am going to take that item and I am
going to change it to the Bismol color
| | 04:41 | there, the pink color.
| | 04:42 | Now it's way too big.
| | 04:43 | That's because the Offset value is wrong.
| | 04:46 | So don't panic, just go ahead and twirl it open.
| | 04:48 | Double click on Offset Path and I
want you to change this Offset Path value
| | 04:52 | with Preview turned on, if you like.
| | 04:53 | So you can see what in the world you are doing.
| | 04:55 | Change that Offset value from 6 to
3, so, half of its original value.
| | 05:00 | Now press the Tab key to update the preview.
| | 05:02 | Looks good, click OK.
| | 05:04 | I still need Add to be there, so leave it alone.
| | 05:07 | Go ahead and twirl down
to these Drop Shadow items.
| | 05:10 | I don't want the second Drop Shadow this time.
| | 05:12 | We have got too many shadow shadows going on.
| | 05:15 | I still want that ledge shadow, but
I don't want the shadow shadow, so I will go
| | 05:19 | ahead and grab that second shadow and throw
it in the Trash, so it's not there anymore.
| | 05:23 | Looking good.
| | 05:24 | The other thing that we need though
is the Outline, the actual stroke.
| | 05:28 | So go ahead and twirl that Fill
closed, grab Stroke right there.
| | 05:31 | Go ahead and duplicate it by dragging on
to the little icon or just clicking on it.
| | 05:36 | Move it in front of Fill.
| | 05:38 | The size of the stroke is just fine,
but its placement is incorrect.
| | 05:43 | It's still tracing around the brown ledge here.
| | 05:46 | So you need to twirl that stroke
open, double-click on Offset Path and
| | 05:50 | change its value to 3 and click OK and
you have now successfully created the
| | 05:56 | inner stroke, the one that strokes the pink
characters, the pink ledge and we are done.
| | 06:02 | That is the way to create all of these
effects and apply them to Live type, here
| | 06:08 | inside of Illustrator.
| | 06:09 | So, this type is still
editable with the Type tool.
| | 06:12 | So just bear in mind,
| | 06:13 | if you are trying to heap multiple
effects on to Live type, you definitely need
| | 06:17 | to assign your attributes to the type objects.
| | 06:20 | You can even do it retroactively, as
long as you have the patience to move those
| | 06:25 | live effects around here
inside the Appearance palette.
| | Collapse this transcript |
| Where live type breaks down| 00:02 | The final phase of this project is to
build up the top terrace of the stack,
| | 00:07 | which traces the original letter forms
themselves, and then to fill those letter
| | 00:11 | forms with gradients.
| | 00:12 | To see what I am talking about, I will
turn on this Outlines layer here and you
| | 00:15 | can see there are FREAK and SHOWBOAT,
filled with independent gradients, and
| | 00:20 | therein lies our problem.
| | 00:22 | We can work around the fact that
gradients and texts are, strictly speaking,
| | 00:26 | incompatible with each other, as we
learned several chapters ago now, when we
| | 00:29 | talked about gradients and gradient mesh.
| | 00:31 | We can work around it by applying the
gradient to the text object, instead of
| | 00:35 | the characters, but that does not afford
us the opportunity to fill one group of
| | 00:39 | characters and another group of
characters independently of each other.
| | 00:42 | So we either have to break apart
these lines of type into separate text
| | 00:46 | objects, which is one option available
to us, or we go ahead and convert the
| | 00:50 | type to outlines, which I believe to
be the simpler approach and the more
| | 00:54 | interesting approach too, because I
can show you another tip that I think is
| | 00:57 | worth knowing about.
| | 00:58 | All right, so inside this exercise, we
are going to build up this top terrace
| | 01:03 | and we are also going to fill
the characters with a gradient.
| | 01:06 | Then in the next exercise, we are going
to bust up the type into outlines and we
| | 01:10 | are going to apply the final gradient.
| | 01:13 | All right, so I am working inside
of a document called Brown & pink.ai.
| | 01:18 | If you want to catch up with me, it's
inside of the 17 Dynamic Type folder.
| | 01:21 | It looks like this, with
the Outlines layer turned off.
| | 01:25 | I am working inside the Live type layer
and I have selected freakshowboat, which
| | 01:29 | is the editable text right here.
| | 01:32 | If I go to my Appearance palette, you
can see that I have a series of four
| | 01:36 | attributes stacked on top of each other.
| | 01:39 | I am going to grab the top two
attributes by clicking on one and
| | 01:42 | Shift+Clicking on the other.
| | 01:43 | So the top black Stroke and the pink
Fill, I will drag those two guys onto
| | 01:47 | the little icon here at the bottom of the
Appearance palette in order to duplicate them.
| | 01:51 | Then I will grab Fill, twirl it
open, and get rid of Offset Path.
| | 01:55 | Just go ahead and drag Offset Path to the
trash because we don't need any offset this time.
| | 01:59 | If we want to restore the original letter forms,
we will go ahead and throw away the offset.
| | 02:03 | We can leave Add there or not.
| | 02:05 | It doesn't really matter.
| | 02:06 | I might as well leave it there, just in
case we run into any times where letter
| | 02:11 | forms intersect each other.
| | 02:12 | Then go ahead and twirl open Stroke
and delete its offset Path as well.
| | 02:17 | Then you will see the stroke outlines
around the original letter forms, like this.
| | 02:21 | Looking good. All right.
| | 02:22 | The next thing we need to do is
click on Fill and I want to replace this
| | 02:26 | fill with a gradient.
| | 02:29 | The gradient that I want to use is
here inside the Swatches palette.
| | 02:31 | It's the final swatch.
| | 02:32 | It's called Grad 3.
| | 02:33 | Go ahead and click on it in order to
apply that gradient to the final fill.
| | 02:39 | This is the gradient that I
want to apply to SHOWBOAT, to the word SHOWBOAT,
| | 02:43 | however, I want it to go
in a different direction.
| | 02:45 | So, I am going to grab the Gradient
tool, right here inside the toolbox.
| | 02:48 | Then I will drag from the top of the
letters to the bottom of the letters and I
| | 02:52 | have the Shift key pressed, so that I
am dragging exclusively downward here, at
| | 02:57 | a purely -90 degree angle.
| | 02:59 | I have filled my letters just fine.
| | 03:01 | The problem is FREAK is solid blue.
| | 03:03 | I really want it to be yellow and
orange, a yellow-orange gradient.
| | 03:07 | Now, if I had have the foresight to
create a gradient that went from orange to
| | 03:11 | yellow, and then to blue, and then to
white, and then to a dark blue, and I made
| | 03:15 | sure that the mid-point between yellow
and blue was exactly at this location so
| | 03:20 | I didn't have razor's edge going on
inside of my text, then I suppose I could
| | 03:24 | work that way, but that brings
up its own sort of can of worms.
| | 03:29 | Easier to work with two separate gradients.
| | 03:31 | I can't do it, subject to the
structure that I have setup so far.
| | 03:34 | So I am going to have to convert my
text to outlines and I am going to do that,
| | 03:38 | along with your help, inside of
the final exercise of this chapter.
| | 03:44 |
| | Collapse this transcript |
| Copying effects from one object to another| 00:00 | All right, so as I mentioned in the
previous exercise, we have hit bit of a wall
| | 00:04 | where applying Live Effects to
type is concerned, here inside of
| | 00:09 | Illustrator, and it has
everything to do with gradients.
| | 00:13 | We have managed to heap on six
attributes in all, here inside the
| | 00:16 | Appearance palette,
| | 00:17 | six attributes that we have applied to
this Live type, editable type. And each
| | 00:22 | one of those attributes has a several
Live Effects applied to it, but as soon as
| | 00:27 | we start working with gradients, which
is one of the older features inside of
| | 00:30 | Illustrator, things break down because
we can't assign a different gradient to
| | 00:35 | one line of type than to another line of type.
| | 00:38 | We have two options now: to divide
these two lines into two separate text
| | 00:41 | blocks, or to just go ahead and
convert the text to outlines and apply a
| | 00:47 | different gradient that way.
| | 00:48 | The second option turns out to be the easier
and more interesting way to work as it turns out.
| | 00:53 | All right, so I have gone ahead and
selected my FREAK SHOWBOAT item here, my
| | 00:58 | FREAK SHOWBOAT text object,
inside of the Live type layer.
| | 01:02 | I am working, by the way, inside of
a document called Break with type.ai.
| | 01:06 | That's found inside of the 17_Dynamic
type folder and it's called, of course,
| | 01:11 | Break with type because we are now ready to
break with type and convert to path outlines.
| | 01:16 | With this text selected, go up to
the Type menu and choose the Create
| | 01:20 | Outlines command, or you can press Ctrl+Shift+O,
Command+Shift+O on the Mac, if you prefer.
| | 01:25 | That goes ahead and converts our text
to path outlines, as you can see here
| | 01:29 | inside of the Illustration window.
| | 01:31 | It also converts the text object to a
group here inside the Layers palette.
| | 01:36 | If you twirl open that group, you
will see that it is made up of separate
| | 01:41 | letters in reverse order, if
you were to read these letters.
| | 01:43 | So there is F, there is R,
there is E, reading up the stack.
| | 01:47 | Each one of those is a compound path and
each one of them has a brown fill and a
| | 01:52 | black stroke and no Live Effects
associated with them, whatsoever.
| | 01:55 | The Live Effects are
instead applied to the group.
| | 01:58 | That's just something to sort of
store in your mind for just a moment.
| | 02:01 | Now we are going to go ahead and grab
the letters in the word FREAK here, and we
| | 02:05 | are going to cut them out of the
group and establish a new group.
| | 02:08 | So we are going to do that by grabbing
the White Arrow tool, and then I am going
| | 02:13 | to press the Alt key or the Option key
on the Mac and basically marquee, just
| | 02:18 | vaguely marquee these letters, like so.
| | 02:20 | That goes ahead and
selects the letters in FREAK.
| | 02:22 | Then I will press Ctrl+X, or Command+X
on the Mac in order to cut those letters
| | 02:28 | to the clipboard and remove
them from the SHOWBOAT group.
| | 02:30 | You can see how that
displays the gradient a little bit.
| | 02:33 | So I am going to go back to my Black
Arrow tool, click on the outline to show
| | 02:37 | both the inner outline of
the letters for SHOWBOAT.
| | 02:40 | Then I am going to grab my Gradient
tool and drag from the top to the bottom of
| | 02:44 | the letters once again while pressing
the Shift key in order to restore the
| | 02:47 | gradient, the way I wanted
it to be inside SHOWBOAT.
| | 02:50 | All right, so far so good.
| | 02:51 | Now I am going to press Ctrl+F, or
Command+F on the Mac in order to paste the
| | 02:56 | letters back in place.
| | 02:57 | Now, so far so bad because we have
basically, we pasted the text back in place,
| | 03:02 | these letter forms that is to say,
but we lost all of the attributes.
| | 03:07 | That's because we no longer have the
group structure to hold those attributes.
| | 03:11 | All right, so let's bring
the group structure back.
| | 03:13 | Let's now press Ctrl+G, or Command+
G on the Mac in order to group those
| | 03:18 | letters once again.
| | 03:19 | So we have now created a group
here inside of the Live type layer.
| | 03:22 | I am going to go ahead and twirl close
both SHOWBOAT, the SHOWBOAT group that's
| | 03:26 | at the bottom here, and then the FREAK group
| | 03:28 | that's at the top, and depending on how
good your thumbnails look, you may be
| | 03:32 | able to distinguish the
two apart from each other.
| | 03:34 | All right, now I want you to notice
that the SHOWBOAT group, right here, has a 3D
| | 03:40 | meatball, while the FREAK
group has a hollow meatball.
| | 03:43 | The 3D meatball shows us that we have
transparency as well as other specialized
| | 03:48 | attributes associated with this group.
| | 03:51 | We can copy those attributes from one
group to another by pressing and holding
| | 03:56 | the Alt key on the PC or the Option
key on the Mac and dragging the bottom
| | 04:00 | meatball on to the top meatball.
| | 04:03 | So that's an Alt+Drag or an Option+Drag of
the bottom meatball on to the top meatball.
| | 04:08 | Check it out, notice what it does.
| | 04:09 | Is that not sensational?
| | 04:11 | It goes ahead and copies all of those
attributes, all six of those fill and
| | 04:15 | stroke attributes along with all of
their dynamic effects from one group to the
| | 04:19 | other and this works with sub-layers,
and compound shapes, and any other
| | 04:23 | objects that you can find inside of the Layers
palette that have these sort of meatballs setup.
| | 04:27 | All right, so now we are ready to go
ahead and switch out the gradient and
| | 04:31 | we can do that by clicking on the Gradient
Fill, here inside the Appearance palette.
| | 04:35 | Then go to your Swatches palette.
| | 04:37 | Your second to last swatch is called the Grad 2.
| | 04:39 | Go ahead and click on it.
| | 04:41 | I have still got my Gradient tool
selected, so I am going to Shift+Drag from the
| | 04:45 | bottom of these letters to the top of
these letters, like so, in order to create
| | 04:49 | a yellow at the bottom to
orange at the top gradient.
| | 04:53 | Then I will press Ctrl+Shift+A ,or Command+
Shift+A on the Mac to de-select those letters.
| | 04:58 | This is our final effect applied
using Live Effects, of course, originally
| | 05:03 | associated with Live Type and then at
the last minute converted to outlines in
| | 05:07 | order to accommodate our
different gradients. Fantastic work.
| | 05:11 | In the next chapter, we are going to
switch topics to Live Trace here inside
| | 05:16 | Adobe Illustrator CS3.
| | Collapse this transcript |
|
|
18. Live TraceWhatever happened to Streamline?| 00:01 | Every so often, I make reference to
Illustrator's illustrious history.
| | 00:05 | For example, there was Illustrator 88,
the only version of the program named for
| | 00:09 | the year it was released, which brought
us blends, masks, type on a path, tile
| | 00:14 | patterns, and color.
| | 00:16 | Tile patterns have kind of lost favor,
but otherwise, those are really great
| | 00:20 | features that live onto this day, but
there was this other tool, the Trace tool.
| | 00:24 | It let you take an imported bitmap, meaning
an image file, and trace it one path at a time.
| | 00:30 | It didn't even know what
color the path should be.
| | 00:32 | It let you drag with the tool to define
end points around the outline. It was weird.
| | 00:37 | It was awful.
| | 00:38 | Freehand immediately eclipsed it with
this really great feature that let you
| | 00:41 | trace multiple colored paths, and then
the Illustrators tracing function just
| | 00:45 | sat there for -- hmm, oh gosh! 17 years.
| | 00:50 | That's right, 17 years.
| | 00:53 | During that time, Adobe licensed this
tracing program called Streamline, which
| | 00:57 | they sold separately.
| | 00:58 | They came from this really great
company called Andromeda, which to this day
| | 01:02 | still makes a bunch of
wonderful Photoshop plug-ins.
| | 01:05 | But see, Adobe had to pay Andromeda royalties,
and I don't know how to put this delicately.
| | 01:10 | Big companies hate to pay
little companies royalties.
| | 01:13 | I should know. I myself I am
just such a little company.
| | 01:17 | Not lynda.com, they are awesome, they
love to pay royalties, but those other
| | 01:21 | companies, they just hate it.
| | 01:23 | Anywho, to make a long story short.
| | 01:25 | Adobe ultimately decided to develop its
own internal tracing function with the
| | 01:29 | express purpose of placing
Streamline and thereby ending the royalties.
| | 01:34 | As much as I feel for Andromeda,
really guys, I am so sorry,
| | 01:37 | I am glad because Illustrator's
Live Trace feature is so great.
| | 01:42 | There are some things missing.
| | 01:43 | Streamline, Centerline control, I
miss that, but in exchange for having a
| | 01:47 | dynamic trace feature right
there inside the Illustrator?
| | 01:50 | Yeah, it's worth a sacrifice.
| | 01:53 | So I am all for the underdog.
| | 01:54 | You know that, right?
| | 01:55 | I like to recycle too, but sometimes you
just have to throw it away and move on.
| | 02:00 | Thank you, Live Trace.
| | 02:02 | I feel guilty, but in a good way.
| | Collapse this transcript |
| Working with a linked image| 00:00 | All right. The topic of this chapter is the Live
Trace feature, which allows you to convert
| | 00:05 | pixels into vector-based illustrations.
| | 00:09 | Over the course of this chapter, I am
going to be showing you how the Live Trace
| | 00:13 | feature works using three
different images, which are going to become
| | 00:17 | progressively more complicated, as you will see.
| | 00:21 | We will start with these hand
drawn characters, right here.
| | 00:23 | A simple black and white image,
nothing much going on, but it does give us a
| | 00:28 | really great sense of how
the Live Trace feature works.
| | 00:31 | Next, we are going to
transition to this full color artwork.
| | 00:35 | This is pen and ink artwork, fairly
straightforward actually, in terms of its
| | 00:40 | basic composition and the
way it was put together.
| | 00:42 | I rendered everything that we are
seeing here using some sort of color pens,
| | 00:47 | mostly Sharpies as it turns out.
| | 00:50 | So, not the most refined tools on earth.
| | 00:51 | The I went ahead and scanned the piece
of artwork, took it over into Photoshop,
| | 00:56 | refined the colors a little bit,
and then placed it into Illustrator.
| | 01:00 | Then, finally, we are going to trace a
full color photograph, like this one here
| | 01:06 | captured by photographer, Alexandra Alexis.
| | 01:09 | So the most complicated tracing scenario
of them all, but before we get into the
| | 01:14 | Live Trace feature, I want to
explain to you how linked image files work.
| | 01:19 | Every single one of the
illustrations I just showed you is essentially an
| | 01:22 | empty illustration,
| | 01:23 | in other words, there is no vector
based stuff going on at all, with a placed
| | 01:28 | image file inside of it, with a linked file.
| | 01:31 | I just want to show you how they
are put together and how you manage
| | 01:35 | linked image files.
| | 01:36 | So, turn your attention for a
moment to the Layers palette.
| | 01:39 | I am working, by the way,
inside of an illustration called Hand
| | 01:42 | drawn characters.ai.
| | 01:43 | That's found inside the 18_Live Trace folder.
| | 01:47 | Turn your attention to the Layers palette and you
will see there is one layer. It's called Image.
| | 01:51 | This is true for all three of
our illustrations, by the way.
| | 01:54 | If you twirl open this layer, you
will see a single item called Alphabet.
| | 01:57 | That is the imported image.
| | 01:59 | Go ahead and meatball it to select it
and that will select the imported image
| | 02:04 | here inside the illustration window.
| | 02:05 | You will see a slew of linked image file
options up here in the Control palette,
| | 02:12 | including this guy right
here that says, Alphabet.psd.
| | 02:15 | If you hover over that item, it will
show you the path to the image file on disk.
| | 02:20 | So Alphabet.psd is the name
of the imported image file.
| | 02:23 | It's a native Photoshop,
therefore, a psd document.
| | 02:26 | Then I am going to go ahead and click
on this hyperlink button right here, so
| | 02:30 | that you can see a menu of
different options available to you.
| | 02:33 | You can re-link to a different graphic,
if you like, which is great if you
| | 02:36 | rename the graphic or you put it in a
different location, something along those lines.
| | 02:40 | You can go to the link.
| | 02:41 | That's not go to the link on your disk
inside of a folder on your Desktop, or
| | 02:44 | something along those lines.
| | 02:45 | That's go to the link
here inside of the illustration.
| | 02:48 | Illustrator will just go ahead
and center the image inside of the
| | 02:52 | illustration window.
| | 02:54 | That's already done for us, so there
is no sense in choosing that command.
| | 02:56 | Edit Original will actually edit the
original image inside of, presumably,
| | 03:01 | Photoshop, inside of the
originating application.
| | 03:05 | So when I chose the command, it
didn't look like much happened, but I
| | 03:07 | actually did switch over to Photoshop
because we can see Photoshop blue, as
| | 03:11 | opposed to Illustrator orange. All right.
| | 03:14 | Let's go ahead and switch
back to Illustrator, however.
| | 03:17 | Then if you want to make some changes
and save those changes, then you would
| | 03:21 | need to choose the Update Link command
here inside the Illustrator once again, in
| | 03:24 | order to update the linked image file.
| | 03:27 | You have Placement options.
| | 03:29 | If you were to place an image inside
of a frame and you wanted to center the
| | 03:33 | image inside the frame or scale it to fit
the frame, you can use these Placement Options.
| | 03:37 | Finally, you have got Link Information
that will tell you information salient to
| | 03:42 | the linked file on disk, how big it is
on disk, for example, what is its name,
| | 03:45 | what's the path, when
was it modified, and so on.
| | 03:48 | I will go ahead and click OK.
| | 03:50 | Some other options are available to us.
| | 03:51 | One is the resolution of the image, a
great thing to be able to see, actually.
| | 03:55 | The resolution is set to 72 PPI, so a
pretty low resolution file, as it turns out.
| | 04:00 | Embed allows you to break the link.
| | 04:03 | So basically, you take the linked file
and you put it inside your illustration.
| | 04:08 | So you embed it into the illustration.
| | 04:10 | Now if you do this, all of your
linked information is going to go away.
| | 04:14 | It's great, by the way, if you want to
be able to hand off a single Illustrator
| | 04:18 | file with an embedded image and you
don't want to have to worry about the linked
| | 04:21 | image being included
along with the illustration.
| | 04:24 | It's a good way to go, but it's not
the most efficient way to go because
| | 04:27 | images have a tendency of growing very, very
large inside of Illustrator, when you embed them.
| | 04:33 | The only reason, really, that
embed exists inside of Illustrator is so that
| | 04:37 | you can modify an image in
Illustrator, if you want to.
| | 04:39 | For example, if you click Embed, then
the image file becomes a full-fledged
| | 04:44 | character inside of your illustration,
meaning that you can modify by going up
| | 04:49 | to the Filter menu and
choosing these commands right here.
| | 04:53 | You could choose, like, a Gaussian Blur
in order to actually blur the pixels
| | 04:56 | inside the image, or you can grab the
Liquefy tool and you can sort of smear
| | 05:01 | characters around, if you want to.
| | 05:03 | Now it tends to be an extremely
slow operation and as I say, it so
| | 05:07 | wildly inefficient.
| | 05:08 | I can't even tell you.
| | 05:09 | Your illustration is just going to balloon.
| | 05:11 | You are much better off performing these
kinds of modifications inside Photoshop
| | 05:16 | and just linking to the image
file, here inside the Illustrator.
| | 05:19 | So, I am going to undo the warp there
that I applied with that Liquefy tool and
| | 05:23 | then I am going to undo the Embed.
| | 05:25 | So I can see now the Embed button is back because
the image is not embedded, it's just linked.
| | 05:30 | There is my Edit Original button to
edit the image inside Photoshop, so it's a
| | 05:33 | little bit of a duplication.
| | 05:35 | There is Live Trace, which
applies the Live Trace feature.
| | 05:38 | Then finally, we have got this Mask
option here which allows us to take the
| | 05:43 | bounding box and convert it to a mask.
| | 05:45 | So, if you do that, if you click on the
Mask button and then you twirl open this
| | 05:48 | new Group item here inside the Image
layer, down on the Layers palette, you will
| | 05:53 | see now that there is a clipping path.
| | 05:54 | I will go ahead and widen the
Layers palette, so that we can see it.
| | 05:56 | It's a rectangle because it's the
original bounding box, but that now gives you
| | 06:00 | the opportunity to modify that
rectangle in order to crop the imported image.
| | 06:06 | That's why that option is provided to you.
| | 06:08 | I am going to go ahead and undo that
modification because I don't want any masking.
| | 06:11 | Really, all I want from the Control
palette, at this time, is Live Trace and we
| | 06:16 | are going to apply the Live Trace
feature in the very next exercise.
| | Collapse this transcript |
| Four ways to trace| 00:00 | All right. Now, make sure that you have the Hand
drawn characters.ai file open, which is
| | 00:05 | found inside of your 18_Live Trace folder.
| | 00:08 | In this exercise, I am going to show
you the four basic ways to apply the Live
| | 00:13 | Trace feature inside of Illustrator.
| | 00:17 | Now, no matter which of the four ways
you decide to go, and the reason I am
| | 00:21 | telling you all four ways right now is
I actually think it will help you make a
| | 00:24 | little bit of sense of the
Live Trace feature right upfront.
| | 00:28 | The first thing you need to do is you
need to select the image, the imported
| | 00:32 | image that you want to trace.
| | 00:34 | Now, what I am going to do just to give you a
sense from the very beginning, of how you work.
| | 00:37 | I am just going to go ahead and
meatball the Alphabet item and delete it.
| | 00:41 | Then I will go up to the File menu
and I will choose the Place command.
| | 00:46 | Then you go ahead and grab the image that you
want to place and trace inside of Illustrator.
| | 00:52 | So, I'll click on the image Alphabet.psd
| | 00:54 | that's inside the 18_Live Trace
folder and I will click the Place button.
| | 00:57 | It goes ahead and centers inside the art
board, given that I don't have any sort
| | 01:01 | of frames setup for it in advance.
| | 01:04 | Then you will see your image here,
inside of whatever layer you are working in.
| | 01:08 | Next, here are your four different ways.
| | 01:10 | One is to just go ahead and click on
the Live Trace button and Illustrator will
| | 01:15 | go ahead and convert that imported
image into a special tracing object, here
| | 01:19 | inside the Layers palette.
| | 01:20 | You can see that it's renamed it.
| | 01:22 | You cannot twirl that tracing object open.
| | 01:24 | So it is an object into and of itself.
| | 01:27 | I will be explaining how it works,
starting inside the next exercise.
| | 01:30 | All right, so that's one way to work.
| | 01:32 | Now, this is like I say,
| | 01:33 | it's a special, vector object
that you edit numerically, you edit
| | 01:38 | parametrically, but you can't like get
in there and actually grab a path, or
| | 01:42 | something along those lines.
| | 01:43 | That's one way to work and you are
accepting Illustrator's Automatic Tracing Settings.
| | 01:47 | It's automatically tracing the
image as a black and white image,
| | 01:51 | regardless of whether it has color or not,
it's going to create a black and white trace.
| | 01:54 | It's also going to trace at the full
resolution of the image, and so on.
| | 01:57 | So some basic stuff that it does, by default.
| | 02:00 | So that would be a default trace.
| | 02:01 | I will go ahead and undo that modification.
| | 02:03 | If you wanted to have complete
control over the tracing process, then give
| | 02:07 | the Live Trace the slip and move over to this
guy right here, the Live Trace menu right there.
| | 02:12 | Then choose Tracing Options and
Tracing Options is going to bring up this big
| | 02:17 | old, bad old dialog box, a little
scary at first, but we will be walking
| | 02:21 | through it, don't worry,
| | 02:22 | not right now, but in subsequent exercises.
| | 02:24 | Then you can specify exactly
what settings you want to apply.
| | 02:27 | Note that we are currently looking
at the default settings, right now.
| | 02:31 | Then once you had specified the
settings, you can, of course, preview them on
| | 02:36 | the current image, if you want to.
| | 02:38 | Then once you are done, you can click
on the Trace button in order to apply
| | 02:42 | those highly specific settings of yours.
| | 02:44 | Third, I will go ahead
and undo that last tracing.
| | 02:48 | Third, you can choose one of these
Presets and these are presets that ship along
| | 02:53 | with Illustrator, but you can
save your own presets as well.
| | 02:56 | So you could say, "You know what? I don't want to
trace this as a black and white illustration.
| | 03:01 | "I want to trace it as a One Color
Logo, or as an Inked Drawing," or
| | 03:05 | something along those lines.
| | 03:06 | You would have to explore, of course,
to find out exactly what settings are
| | 03:10 | associated with these presets,
but that's another way to work.
| | 03:13 | So I will go ahead and choose Inked
Drawing because that's kind of what it is.
| | 03:17 | I actually drew this inside of
Illustrator but didn't do the best job.
| | 03:21 | You can see that we are losing some
bits and pieces of our artwork, like that
| | 03:25 | little bit of the T right
there just disappeared for me.
| | 03:29 | At this bit of the T and the other of
the T just kind of went into the U. So a
| | 03:33 | lot of stuff missing here
inside this version of the image.
| | 03:37 | Finally, let's say that
| | 03:38 | instead of creating a Live Trace object,
you want to get immediate access to the
| | 03:44 | path outlines so that you can modify
those path outlines using the white
| | 03:48 | Arrow tool and kind of zip
around with the Pen tool, and so on,
| | 03:52 | then you will press the Alt key, or
the Option key on the Mac and click on
| | 03:57 | the Live Trace button.
| | 03:58 | That immediately traces
that image using path outlines,
| | 04:02 | as you can see, editable path outlines.
| | 04:04 | This is now a static trace.
| | 04:06 | It's no longer a dynamic trace.
| | 04:07 | It doesn't allow you to change or
trace settings anymore, but you do have the
| | 04:11 | opportunity to dig right in and start
modifying the points, and handles, and so
| | 04:16 | on using your white Arrow tool.
| | 04:18 | So, four different ways to
trace, just to give you a sense.
| | 04:22 | In the next exercise, we are going
to go back and retrace this image.
| | 04:24 | We are going to do it exactly the right way.
| | 04:26 | I am going to give you not four
different ways to do it but one way to do it,
| | 04:29 | one very clean way to approach
this specific imported image file.
| | Collapse this transcript |
| Tracing a black-and-white image| 00:01 | All right. As promised, I am going to show you
the best way to trace these hand drawn
| | 00:05 | characters here inside of Illustrator.
| | 00:08 | Now, if you have been following
along with me and you have made a mess of
| | 00:10 | graphic the way that I have, then
join me as I go to the File menu and
| | 00:15 | choose the Revert command in order to revert
to the previous appearance of this illustration.
| | 00:22 | I am going to loose my changes so I
have to confirm with Illustrator that I
| | 00:25 | really want to do this.
| | 00:26 | I will go ahead and click the
Revert button to make it so.
| | 00:28 | Now, if you haven't been following
along with me, then all you need to do is
| | 00:32 | open this graphic right here.
| | 00:33 | It's called Hand-drawn characters.ai and
it's found inside of the 18 Live Trace folder.
| | 00:40 | Then go to your Layers palette, twirl
open the Image layer and meatball the
| | 00:44 | Alphabet item right here,
which is the imported image.
| | 00:48 | Now, I should tell you
where these letters come from.
| | 00:51 | I didn't actually write these letters on
a piece of paper and then scann them in.
| | 00:56 | Instead, I drew every single one of
these letters directy inside Photoshop
| | 01:00 | using a Wacom Intuos3 tablet, just so you know.
| | 01:04 | So we have a very clean black and white graphic.
| | 01:07 | A few little gray edges, so called anti-aliased
edges around the outside, but
| | 01:12 | that's it, mostly just black and white.
| | 01:14 | And that's great, because Illustrator's
default application of the Live Trace
| | 01:18 | function is black and white.
| | 01:20 | So once you have gone ahead and
selected your imported image, then go up to the
| | 01:24 | Control palette and click
on the Live Trace button.
| | 01:27 | You don't have to Opt+
click or Alt+Click on a PC.
| | 01:29 | You don't have to do anything special.
| | 01:31 | A moment later, Illustrator goes
ahead and traces all of the letter.
| | 01:36 | Just as you can see, there
was a slight change made.
| | 01:38 | This is before and then this is after,
so just a slight change on screen.
| | 01:43 | Now the change becomes more obvious if you
zoom in on a portion of your illustration.
| | 01:49 | I am going to go ahead and zoom in on
the letter G, for example, and notice as I
| | 01:53 | zoom in on that G, it gets more and more clear.
| | 01:57 | So we have the super sharp edges going.
| | 01:59 | Now you may disagree with the
contour of those edges, but they are crisp
| | 02:04 | vector-based edges inside of Illustrator.
| | 02:08 | And to give you a sense of what
the difference is, this is before.
| | 02:11 | I will press Ctrl+Z to show you
the before version of the image.
| | 02:15 | So it's a pixel-based image at this
point and I will press Ctrl+Z, or Command+Z
| | 02:19 | on the Mac in order to restore
the original pixel-based image.
| | 02:23 | You can see that it is made up of pixels.
| | 02:25 | We have got black interiors on our
letters, white exteriors, a white background and
| | 02:30 | then these gray pixels that represent
that anti-aliasing that I was talking
| | 02:34 | about, just they keep the letter form soft.
| | 02:37 | But it's very chunky and we have a very
low resolution image, just 72 pixel per
| | 02:41 | inch, as we can see up
here on the Control palette.
| | 02:43 | So we are not going to get a very
good print out of it. Compare that to
| | 02:48 | Ctrl+Shift+Z, or Command+Shift+Z in
order to reapply the Live Trace function and
| | 02:52 | you can see how super smooth
that art work is. All right.
| | 02:56 | Another way, another thing you should
know about comparing your pixel-based
| | 03:01 | image, your original pixel-based image
to your trace version of the image is
| | 03:05 | that you can do it at any time by
taking advantage of these two pyramid options, up
| | 03:09 | here in the control palette.
| | 03:11 | So the first pyramid, notice that
it's kind of chunky, that it's got little
| | 03:14 | jaggies, that controls the image
whether or not you see the image and the
| | 03:18 | other one, the smooth version of the pyramid,
controls whether or not your seeing vector.
| | 03:22 | Currently, we are seeing just the vector
art, so we're just the tracing result,
| | 03:26 | because it has a check mark next to it
and we are not seeing, if I were to
| | 03:30 | click on the chunky pyramid,
we are not seeing the image.
| | 03:33 | Let's say we want to see the image.
| | 03:34 | I will go ahead and show the original
image and it's covered up now by the
| | 03:38 | tracing so we can't see it.
| | 03:39 | We will have to go over to the Tracing
menu there and change it to Outlines and
| | 03:44 | we will just see the outlines.
| | 03:47 | Notice those cyan outlines
are a little difficult to see,
| | 03:49 | those cyan outlines that are tracing around the
| | 03:52 | contours of the graphic.
| | 03:53 | And now you might be able to get a
sense of why Illustrator made some of the
| | 03:57 | decisions, some of the
tracing decisions that it made.
| | 04:00 | An even better way to check out the
tracing decisions, if you want to, is to go
| | 04:04 | up here to this Pixel menu, right
there, and change it to Adjusted Image.
| | 04:10 | Adjusted Image means what did
Illustrator see when it was making its tracing? And
| | 04:16 | what Illustrator does by
default is it gets rid of all that
| | 04:20 | anti-aliasing around the edge.
| | 04:22 | It just wants to see either black pixels
or white pixels, once again, by default.
| | 04:26 | So if you choose Adjusted Image, you
are going to see a very jagged graphic.
| | 04:31 | That's actually what Illustrator traced.
| | 04:34 | Again, this is by default.
| | 04:35 | You can modify this later if you want to,
but it helps to once in while to see
| | 04:39 | what it is Illustrator is actually seeing.
| | 04:42 | And then, of course, you can also see a
transparent version of the image just so
| | 04:45 | you can see through the image to other things.
| | 04:47 | Anyway, probably the best way to work is
either Adjusted Image or original image
| | 04:52 | along with outlines, or once you
want to see your tracing results again,
| | 04:57 | then you can go ahead and switch
over to Tracing Result like so.
| | 05:01 | So that's how you create a default
black and white tracing of an imported, one
| | 05:06 | would think, black and white image,
like this one here, and how you modify your
| | 05:11 | viewing settings so that you can see
both the image and the vector art, or one or
| | 05:16 | the other at a time.
| | 05:18 | In the next exercise, we will see how we
go about modifying our tracing settings
| | 05:22 | in order to get absolutely
the best results possible.
| | Collapse this transcript |
| Adjusting Threshold and Min Area| 00:01 | All right. Over the course of the next three
exercises, we are going to be examining every
| | 00:05 | single one of the Live Trace settings
that Illustrator makes available to us,
| | 00:10 | because, believe it or not, to some
extent or other they are all important to
| | 00:15 | the outcome of our traced outwork.
| | 00:17 | In this exercise, we are going to
be visiting the two most important
| | 00:20 | options, which are these guys here inside the
Control palette, Threshold and Minimum Area.
| | 00:25 | In the next exercise, we will bring up
the Tracing Options dialog box and we
| | 00:30 | will review the options on the left-
hand side of the dialog box which control
| | 00:35 | the image adjustments.
| | 00:37 | And then, in the third of this group of
three exercises, we will be visiting the
| | 00:42 | options on the right side of the Tracing
Options dialog box, which determine the
| | 00:46 | outcome of the Live Trace operation.
| | 00:48 | All right, so if you are just
joining me, open this illustration.
| | 00:50 | It's called Default tracing.ai, so-
called because it exhibits the default Trace
| | 00:56 | settings, and we have gone ahead and
traced a black and white version of those
| | 01:01 | letters that I drew inside
Photoshop with the Wacom Tablet.
| | 01:04 | Go into your Layers palette.
| | 01:06 | Twirl open the Image layer and
meatball the tracing object to make sure that
| | 01:10 | it's selected as mine is. All right.
| | 01:12 | We are looking at a handful of the big
capital letters and a few other smaller
| | 01:17 | capital letters as well.
| | 01:19 | So in order to see what's going on with
Threshold, I want you, for a moment, to go
| | 01:23 | ahead and turn off your Tracing Result.
| | 01:26 | So set this option here to No Tracing
Result and then go over to the choppy
| | 01:31 | pyramid and set it to Adjusted Image so
we can see what Illustrator is doing to
| | 01:35 | the image in order to figure out
what the tracing should look like.
| | 01:40 | Notice that it's converting the image
to black and white, every pixel is
| | 01:43 | either black or white.
| | 01:44 | This Threshold option determines the
border between black and white pixels.
| | 01:49 | And in order to understand how
this value works, 128, you need to
| | 01:53 | understand Luminance levels.
| | 01:54 | They work like this.
| | 01:55 | In the world of imagery, a luminance
level of 0 means black and 255 means white.
| | 02:01 | So right now, we are looking at 128, which
is right down the middle. It's medium gray.
| | 02:05 | So we are saying anything that's
lighter than medium gray make it white.
| | 02:08 | Anything that's darker than
medium gray make it black.
| | 02:11 | If you want to make your characters
thinner, then you would reduce this value to
| | 02:15 | make more of the background white.
| | 02:19 | So, in this case, if I press the Tab key
to advance to the next option, which is
| | 02:23 | something you need to do in order to
invoke that setting and preview it on
| | 02:26 | screen, you need to press the Tab key.
| | 02:28 | Then you will see that the white
pixels have encroached on the letters.
| | 02:32 | They are taking over the gray
pixels that exist along the edges of
| | 02:36 | these character outlines.
| | 02:38 | If we want to thicken up the characters,
then you want to raise the Threshold value.
| | 02:42 | I am going to take it up to 220 pixels
and then press the Tab key, and you will
| | 02:46 | see that these characters do indeed
get thicker because we are saying more of
| | 02:51 | the pixels ought to be black.
| | 02:52 | In fact, we are saying everything that
has a Luminance level of 220 or darker
| | 02:56 | becomes black, and that
means only 220-255 are white.
| | 03:01 | So, just a few of those
gray pixels are left as white.
| | 03:04 | Now, to see how that effects your
tracing result, go ahead and turn on the
| | 03:09 | Tracing Result option here from the
smooth pyramid and you will see those
| | 03:13 | thicker letters. Just again, so that
you can see it in the vector world,
| | 03:16 | this is the Threshold setting of one
which is the lowest threshold that you
| | 03:19 | can apply and the thinnest letters
you can achieve, compared with 220, which
| | 03:24 | are pretty darn thick letters, not quite the
thickest, but thick enough for our purposes.
| | 03:28 | Now Minimum Area.
| | 03:30 | Minimum Area, you are only going to
see the results of this option when this
| | 03:34 | item right here is set to Tracing Result.
| | 03:36 | So make sure that it is.
| | 03:37 | Minimum Area controls the
smallest details that will get traced.
| | 03:40 | So right now, we are saying 10 pixels,
which means 3 pixels wide by 3 pixels tall
| | 03:45 | plus an additional pixel, essentially.
| | 03:47 | That would be the minimum area that
would get traced, and that would basically
| | 03:51 | rule out Noise inside of your digital image,
| | 03:54 | noise being weird little particles.
| | 03:56 | So things like dust and
scratches would get ruled out.
| | 03:59 | Well, this image doesn't have any dust
or scratches in it for the simple reason
| | 04:03 | that I drew it directly inside Photoshop.
| | 04:05 | I didn't scan it. I just drew it
inside of Photoshop, so it's ultra-clean.
| | 04:09 | But just to give you a sense of what
this means, if I were to take this value up,
| | 04:12 | let's say I raise it to 1000 pixels
and press the Tab key and we are going to
| | 04:17 | see how a lot stuff drops out of it, a
ton of little letters drop out, a bunch
| | 04:22 | of interiors of letters drop out as
well because the area of those interiors is
| | 04:27 | less than 1000 pixels.
| | 04:28 | Somehow, when you take the width and
height, they are less than 1000 pixels.
| | 04:31 | But really, you don't need to know that
so much just as you are ruling out areas
| | 04:36 | when you drag this value around.
| | 04:39 | So you can always preview the effects
here inside of the illustration window.
| | 04:43 | So as I take that value down to even a pretty
high value, 324, I bring back all my letters.
| | 04:48 | I am still missing a few interiors. Fine.
| | 04:51 | What I really want to do for this
specific image, because it has no noise
| | 04:55 | whatsoever, take this value down to 0
pixels, which means you are telling the
| | 04:59 | Illustrator to trace everything
inside of this document. And that's it.
| | 05:04 | Those are the values I want you to apply.
| | 05:06 | We have now seen how
Threshold and Minimum Area work.
| | 05:09 | In the next exercise, we are going to
take on the wider range of tracing options
| | 05:14 | inside the Tracing Options dialog box.
| | Collapse this transcript |
| Tracing options pt. 1: The Raster functions| 00:01 | All right. Let's review round two of the options
that are available to you when you are
| | 00:05 | modifying a Live Trace
Object inside of Illustrator.
| | 00:08 | I still have open my Default tracing.ai file
that I began with in the previous exercise.
| | 00:14 | I have the tracing object
selected here inside of the Image layer.
| | 00:18 | I changed my Threshold value to 220
and my Min Area value to 0 pixels.
| | 00:23 | Now, I'd like you to go over here to
this palette icon here inside of the
| | 00:28 | Control palette, and click on it in order
to bring up the Tracing Options dialog box.
| | 00:32 | Now, notice that the dialog
box is divided into two halves.
| | 00:36 | We have the Adjustments options and
the Trace settings options, and below the
| | 00:41 | Adjustment options is the Raster preview,
which is the same as this jagged black
| | 00:47 | pyramid right here, which allows you
to control whether you see the image or
| | 00:50 | not, the original traced image.
| | 00:53 | And then below the Trace Settings is
the Vector Preview, which is the same as
| | 00:58 | the smooth pyramid, which allows you to
determine whether or not you can see the
| | 01:01 | result of the tracing.
| | 01:04 | And it's no coincidence that things
are arranged this way, because the
| | 01:08 | Adjustments Options control the original
underlying image and the Trace Settings
| | 01:13 | control the vector tracing, so that's
why they are arranged the way they are.
| | 01:17 | In this exercise, we are going to
take a look at these left-hand options.
| | 01:21 | In the next exercise, we will take
a look at the right-hand options.
| | 01:24 | So, for starters, you can determine
the mode, that is whether you're going to
| | 01:28 | make a black and White tracing or a
Grayscale tracing or a Color tracing.
| | 01:32 | For now, let's leave this set to Black
and White because after all, we are just
| | 01:36 | tracing black and white letters.
| | 01:37 | There is no reason to resort to
Color because there is no color, and then
| | 01:40 | Grayscale would just allow us to
trace some of the gray edges, which is not
| | 01:44 | something we really want to do.
| | 01:46 | If you were to choose Grayscale or
Color, the Threshold option would go away.
| | 01:50 | Threshold is specifically designed to
accommodate Black and White tracings.
| | 01:55 | It would become dimmed if you are
producing a Grayscale or Color tracing.
| | 01:59 | If you were to select Color or Grayscale,
you would gain access to these palette
| | 02:04 | and max color options, maximum
number of colors that you would trace
| | 02:08 | is what that's about, a palette,
which color palette you are going to use.
| | 02:11 | You can also choose to
output your colors to swatches.
| | 02:15 | In our case, that would just output
white and black to the Swatches palette.
| | 02:19 | No sense in doing that because we already
have white and black inside the palette.
| | 02:23 | Next are Resample and Blur,
reading in opposite order.
| | 02:27 | The Resample option allows us to add
the pixels to the image before we trace it
| | 02:32 | or subtract pixels from
the image before we trace it.
| | 02:35 | In our case, we are just tracing a 72
ppi image in the first place, so there is
| | 02:39 | really no reason to change this value.
| | 02:41 | We already have a low resolution value.
| | 02:43 | Lowering the resolution would quicken
the scan, but at what cost, at this point?
| | 02:48 | And raising the resolution really
isn't going to do us that much good.
| | 02:52 | Blurring, though, is another issue
entirely, so what I am going to do is I am
| | 02:56 | going to change Vector to No Tracing
Result, and then I am going turn on the
| | 03:02 | Preview checkbox so that we
can see the adjusted image.
| | 03:06 | You should make sure that Raster is
set to Adjusted Image, incidentally, so
| | 03:10 | that we can see the adjusted image here
inside the Illustration Preview in the background.
| | 03:17 | Now, I am going to go ahead
and raise this Blur value.
| | 03:20 | For example, if I change the Blur value
to 4 pixels and then press the Tab key,
| | 03:26 | you will see that this
thickens up the letters considerably
| | 03:30 | because I am blurring those letters. I
am actually blurring the letter outline.
| | 03:34 | And you can really see what the blur looks
like if you switch over to Grayscale, here.
| | 03:38 | You have to wait a moment for that
Grayscale preview to apply, but now you can
| | 03:42 | see what a blurred version of the
artwork looks like compared with an un-blurred
| | 03:47 | version of the artwork.
| | 03:49 | Now the reason our edges are thickening
up so much is because of that Threshold
| | 03:53 | value we had applied.
| | 03:54 | So I will go back to Black and White,
and I will change my Blur value to 4
| | 03:59 | pixels and press the Tab key
in order to invoke the preview.
| | 04:03 | Now, with Threshold set at this very
high value here we get very thick letters,
| | 04:08 | but were we have to take it to a very
low value we would get very thin letters,
| | 04:12 | sometimes dropping out at points.
| | 04:14 | So the whole reason that the Blur
value exists is to allow us to blur away
| | 04:19 | defects inside of the image.
| | 04:21 | So again, if we've got dust and
scratches that aren't accommodated by that
| | 04:26 | Minimum Area value over here, on the
right side of the dialog box then we could
| | 04:30 | blur away our defects instead.
| | 04:32 | Not really a problem in our case.
| | 04:34 | We don't need to blur.
| | 04:35 | So I am going to go ahead and raise
that value back to 0 pixels, and I am going
| | 04:39 | to change the Threshold back to 220.
| | 04:41 | So there is not really any
changes I want you to make.
| | 04:44 | I just want you to understand
how these adjustment options work.
| | 04:48 | In the next exercise, we're going to
switch over to the more important, frankly,
| | 04:52 | Trace Settings options on the right-hand
side of the Tracing Options dialog box.
| | Collapse this transcript |
| Tracing options pt. 2: The vector functions| 00:01 | In this exercise, I am going to walk
you through the Vector Trace settings
| | 00:04 | inside the Tracing Options dialog box.
| | 00:07 | I am still working inside of the
Default tracing.ai document that I opened a
| | 00:11 | couple of exercises ago.
| | 00:13 | I have twirled opened the image layer
and I have meatballed the tracing object
| | 00:17 | so that it's selected.
| | 00:18 | Now, I am going to scroll to a
different portion of my illustration, right
| | 00:22 | around here, because there is a high
concentration of letters in this area.
| | 00:27 | And I need to zoom pretty far in, so
that we can see our letters up close and
| | 00:31 | personal, for reasons that
will become evident shortly.
| | 00:34 | So my traced object is selected.
| | 00:36 | I am going to go ahead and click on
this Tracing options dialog button in order
| | 00:40 | to bring up the Tracing Options dialog box.
| | 00:42 | Now, in the previous exercise, we
already saw how the adjustments options work,
| | 00:46 | over here on the left side of the dialog box.
| | 00:48 | We are now going to focus in on the Trace
Settings options, on the right side of the dialog box.
| | 00:53 | And we are going to start things at the
bottom and work our way up, because it's
| | 00:58 | just the simplest way to approach these settings.
| | 01:00 | Now notice there it says, Option
right here that says Ignore White.
| | 01:04 | That's going to exclusively focus on
tracing the black portions of the illustration.
| | 01:11 | So, as opposed to drawing separate
paths for the white areas, which is what's
| | 01:15 | happening right now, notice over here,
it's telling us that we have got two
| | 01:19 | colors that we are tracing,
and that means black and white.
| | 01:22 | If I were to turn on Ignore White,
we would no longer trace white.
| | 01:25 | We would only trace black.
| | 01:26 | So I will go ahead and turn
that checkbox on. Now, what gives?
| | 01:30 | Color still says there is
two, meaning black and white.
| | 01:32 | There should just be one.
| | 01:34 | The reason we are not updating any of
this information here is the same reason
| | 01:37 | that I didn't update my
preview in the background.
| | 01:40 | That's because the
Preview checkbox is turned off.
| | 01:43 | If you want to see your numerical
information updated, Preview needs to be turned on.
| | 01:47 | So I will go ahead and turn it on.
| | 01:49 | Watch these Options right here and you
can see that the number of paths and the
| | 01:52 | number of Anchor points changed on
screen, and we now see the number of Colors
| | 01:57 | drop down to one color, just black.
| | 02:00 | Incidentally, this guy right here, Areas,
is the number of overlapping areas of color.
| | 02:04 | Typically, the number of Areas is
going to be lower than the number of Paths.
| | 02:08 | In this case, it's a little higher.
| | 02:10 | Now you may wonder what in the world is
going on with the choppiness that we are
| | 02:14 | seeing, here inside of the Illustration window.
| | 02:17 | Why do we all of a sudden
have all these jagged edges?
| | 02:19 | Well that's because we are seeing
through the black and only black.
| | 02:22 | We don't have any white covering anymore.
| | 02:24 | We are seeing through the black traced
objects, through the transparency to the
| | 02:29 | Adjusted Image below.
| | 02:30 | So go ahead and change your Raster
option to No Image now, so that we see just
| | 02:35 | the vector artwork, all those
jagged edges will go away.
| | 02:38 | Now then, let's focus on Corner
Angle, sort of a minor function, a little
| | 02:42 | tweaky, in my opinion.
| | 02:44 | It's basically how sharp does a corner
need to be in order to be considered the
| | 02:48 | corner point by the Tracing Options dialog box?
| | 02:51 | The higher the value, the more
smooth of a point you will get.
| | 02:54 | So if you raise this value up to a 180,
then basically you have to make a U-turn
| | 02:59 | in order to represent a
point with a corner point.
| | 03:02 | Instead, everything else is going to
be smooth points inside of an image.
| | 03:05 | So, if you want really smooth artwork
and more Anchor points, by the way, in
| | 03:10 | order to represent the curves, then you
want to go ahead and raise this value.
| | 03:13 | Typically though, I will keep it in
the neighborhood of 20-45 degrees.
| | 03:18 | Now, in the case of this illustration, I
am going to take it down to 45 degrees.
| | 03:21 | Minimum Area, we already discussed that
because that's the same as the Min Area
| | 03:25 | option, here in the Control palette.
| | 03:27 | Path Fitting determines how far a
vector-based outline can stray away from
| | 03:33 | the pixel information.
| | 03:35 | And right now we are saying that it can
stray as far as two pixels away from the
| | 03:39 | original information inside the image.
| | 03:40 | So if your drawing isn't very good in
the first place, it's not very accurate,
| | 03:44 | then you can raise this value in
order to smooth out the details.
| | 03:48 | But in my case, I have been
bragging on how these are very well
| | 03:51 | represented letters that I took a
lot of time in order to paint them
| | 03:55 | properly inside of Photoshop and
that there is no noise, whatsoever
| | 03:59 | because I didn't scan the artwork.
| | 04:01 | I painted it directly inside of Photoshop.
| | 04:04 | So you would think we might as well
take this Path Fitting value down to its
| | 04:08 | minimum, which is 0.
| | 04:09 | So I will go ahead and enter 0 and
then press the Tab key. Check it out.
| | 04:12 | Watch the Anchor points number here.
| | 04:14 | It's going to take a while, by the way,
to apply this setting because we are
| | 04:18 | previewing it on the fly.
| | 04:19 | Notice my number of Anchor
points jump to almost 47,000.
| | 04:24 | So that was a big increase
and my artwork looks terrible.
| | 04:28 | And that's because Illustrator is going
through and tracing every single pixel. Oh my gosh.
| | 04:33 | That's too accurate.
| | 04:35 | So let's go ahead and raise the
Path Fitting value up to 1 pixel.
| | 04:39 | So the idea is you can have that value
set as low as 0 pixels but there is not
| | 04:44 | really going to be any reason you would want to.
| | 04:45 | You want to have it at 1 pixel or
higher and this is very accurate artwork.
| | 04:48 | So let's stick with 1 pixel, why don't we?
| | 04:51 | Now, let's take a look at
these guys, Fills and Strokes.
| | 04:54 | Right now, I am tracing only filled
objects inside of my illustration.
| | 04:59 | So everything is a closed
path, filled with black.
| | 05:03 | You could choose, instead, to
represent everything using stroked paths.
| | 05:06 | And I will do that by turning off the
Fills checkbox and then that turns on the
| | 05:10 | Strokes checkbox because one or
the other of them have to be on.
| | 05:13 | You can have both, if you want to, but I
just want to demonstrate the difference here.
| | 05:17 | So I only have the Strokes options
turned on and you can see that it's now
| | 05:20 | stroking around these paths.
| | 05:21 | Sometimes it's an open path that has a
fixed stroke associated with it, like
| | 05:27 | this J. Other times it's a closed path
with a thin stroke around it, like this I.
| | 05:30 | All right.
| | 05:31 | If you want fewer of those hollow
patches inside of your illustration, which we
| | 05:36 | most certainly do, then take it
that Max Stroke Weight option up.
| | 05:40 | I am going to take it to 30 pixels.
| | 05:42 | And then press the Tab key.
| | 05:44 | And now we are going to fill in quite
a few areas inside of the illustration.
| | 05:48 | But we are also going to drop out some areas.
| | 05:50 | Notice that that bottom of the K went away.
| | 05:53 | And we are also losing some other
stuff inside of the illustration.
| | 05:56 | We are just too far zoomed in to see it.
| | 05:58 | This R over here is missing an
appendage and the middle of the M over here
| | 06:03 | is missing as well.
| | 06:05 | And that's because our
Minimum Stroke Length setting.
| | 06:07 | There is really no reason, in the case, of
this illustration, have it set to anything.
| | 06:11 | We might as well stroke
every little detail we can.
| | 06:13 | So I am going to take this down to
a minimum Stroke Length of 0 pixels.
| | 06:18 | We should see the K come back and it
did and we should -- there is the part of
| | 06:23 | the M I was telling you was missing.
| | 06:24 | There is that part of the
R that was missing before.
| | 06:26 | And really, we managed to fill in
everything now, except for the dot inside the
| | 06:30 | O, and the dot on top of the J,
and the dot on top of the I.
| | 06:34 | And that's just because we
can't represent those with Strokes.
| | 06:38 | If we want to bring those in, we
need to represent those with Fills.
| | 06:41 | Well, I will tell you what I am going to do.
| | 06:43 | I am going to turn off Strokes and I am
just going to represent everything using Fills.
| | 06:47 | That's the best way to trace the
letters inside of this illustration and these
| | 06:51 | are the final settings
that I suggest that you use.
| | 06:54 | We end up with a scant 209
Paths. That's not so bad.
| | 06:58 | And 2,500 Anchor points.
| | 06:59 | That's pretty good, actually.
| | 07:00 | Let's go ahead and save a preset now.
| | 07:03 | Go ahead and click on the Save Preset
button and let's call this one Smooth
| | 07:07 | letters and then click OK, in order to
create that new preset and there it is
| | 07:11 | now, up in the Preset pop-up menu.
| | 07:13 | Now, I will click on Trace in
order to invoke my Trace settings.
| | 07:17 | And now we are seeing the final
traced version of this illustration.
| | 07:21 | There is only one slight change I might make.
| | 07:25 | And that is right there.
| | 07:26 | Notice this N, this little N. You
might be able to find it inside of your
| | 07:30 | illustration as well.
| | 07:31 | It's below the big T and if you zoom in
on it, it's got a little bit of garbage
| | 07:37 | at the top of it and I was telling you
how clean and noiseless this illustration
| | 07:40 | is and yet, we have a little sort
of smudgy pooh up here above the end.
| | 07:45 | Well, that's a function of not
having the Minimum Area value high enough.
| | 07:49 | Let's go ahead and take
it up to 4 pixels instead.
| | 07:52 | Press the Tab key in
order to apply that setting.
| | 07:55 | That gets rid of that little dot of
garbage, just in case you want to be
| | 07:59 | that ultra-careful.
| | 08:00 | Otherwise, this is the final version
of our letters, as traced using the Live
| | 08:06 | Trace feature, here inside
of Adobe Illustrator CS3.
| | Collapse this transcript |
| Expanding and editing traced artwork| 00:01 | Now that we have successfully
created a Live Trace Object inside of
| | 00:04 | Illustrator and gotten it to be exactly the
way that we want it to be, what do we do with it?
| | 00:09 | Well, you can leave it set up as a
Live Trace Object, as it is right now.
| | 00:13 | I am working, by the way, inside of a
document called Traced letters.ai. That's
| | 00:19 | found inside of the 18_Live_Trace folder.
| | 00:22 | And it contains a Live Trace
object here inside the image layer.
| | 00:26 | If you twirl it open, you will
see the tracing object there.
| | 00:29 | Go ahead and meatball it if you like.
| | 00:30 | And this is the traced object
subject to my final settings that I applied
| | 00:35 | over the course of the last few
exercises, and I like it a lot and I could
| | 00:38 | use it just this way.
| | 00:40 | I could go ahead and print out
these letters if I wanted to.
| | 00:43 | I could export them for use in a
different application. For example, I
| | 00:47 | could place these letters into InDesign
without converting them from a Live Trace object.
| | 00:52 | And that way, I still have the option of
modifying my Trace settings, if I want to,
| | 00:57 | just by bringing up the dialog box, and
of course, changing out those settings.
| | 01:01 | So that's one option.
| | 01:02 | Another thing I can do is convert it to
a Live Paint object, so that I can fill
| | 01:07 | in colors and paint in various details
inside of my newly traced illustration,
| | 01:12 | and we are going to visit that exact
topic in the next chapter when we talk
| | 01:16 | about the Live Paint feature.
| | 01:18 | But for now, I am going to go ahead and
expand these letters, because let's say
| | 01:22 | I want to break them apart.
| | 01:24 | I want to modify them independently and so on.
| | 01:26 | I want letter-for-letter
control over my traced artwork.
| | 01:31 | Then I would click on the Expand button
in order to convert all of these letters
| | 01:36 | to path outlines and they
will all be grouped together.
| | 01:39 | Note that. If you look at the Layers
palette here, you will see that everything
| | 01:42 | is grouped into one gargantuan group here,
and if you go ahead and twirl it open
| | 01:46 | you will see that there is a series of
compound paths going on, some of which
| | 01:51 | correctly represent letters or
numbers and others that don't, others that
| | 01:55 | represent gaps and other
sort of weird things going on.
| | 01:58 | But for the most part, they are in pretty
good shape I would say about 90%, right?
| | 02:02 | Let's go ahead and ungroup them, so
that they are not glommed together in one
| | 02:06 | big group, and I will do that by
going up to the Object menu and choosing
| | 02:09 | Ungroup or of course, I could just press
Ctrl+Shift+G, or Command+Shift+G on the Mac.
| | 02:15 | Now, let's check out one of the
rougher letters here, something like this S.
| | 02:19 | Notice that it has quite a
few little jags inside of it.
| | 02:23 | And I could take care of it if I want to.
| | 02:25 | I will just go ahead and click off
the S. Then click on it again with the
| | 02:27 | Black Arrow tool in order to select it,
independently from everything else that's going on.
| | 02:31 | I could grab my Pen tool and I could
click on the points that I want to get
| | 02:36 | rid of, these offending points that are
creating sort of these weird jags into the S.
| | 02:41 | Also, if it occurs to me that there are
too many sort of weird transitions here,
| | 02:46 | and I will go ahead and grab that Smooth
tool, the one that I was telling you is so
| | 02:48 | great for smoothing out path
outlines a few chapters ago.
| | 02:51 | So make sure you've got the tool with
the sort of threads around it there, the
| | 02:55 | screw threads around it.
| | 02:56 | And then I will drag over the area
that I want to smooth out and I can drag
| | 03:00 | multiple times over an
area, of course, if I like.
| | 03:03 | So, a lot of options available to you.
| | 03:05 | You can sort of work on this
stuff to your heart's content. Oh!
| | 03:08 | Look at that.
| | 03:09 | There is a nice area.
| | 03:10 | That D is so wobbly.
| | 03:12 | The Smooth tool is going to help it out, if
I can drag over it properly. There we go.
| | 03:16 | Should smooth out some of those rough
transitions, and of course, then I can go
| | 03:19 | ahead and pick and choose which letters
that I want to use in order to represent
| | 03:23 | words manually inside of Illustrator,
kind of nice if you are trying to create
| | 03:26 | hand-lettering effects.
| | 03:28 | Anyway, there you have it.
| | 03:29 | Use the letters in any way that you see fit.
| | 03:32 | This document is yours now, from
me to you with love, I tell you.
| | 03:36 | In the next exercise, we are
going to go to the next step, man.
| | 03:40 | We are going to take it up a level and
we are going to trace some full-color
| | 03:43 | artwork, here inside Illustrator.
| | Collapse this transcript |
| Applying and amending a Live Trace preset| 00:00 | Now, that we have a sense for how the
Live Trace settings work, let's go ahead
| | 00:05 | and apply them to a more intricate,
more complex, if not necessarily more
| | 00:10 | sophisticated piece of artwork.
| | 00:12 | This is that pen and ink drawing
that I was telling you about, really a
| | 00:15 | sharpie and some other sort of marker
drawing that I created on a piece of 20 pound bond,
| | 00:22 | so, only the best tools,
| | 00:24 | basically a sheet of xerox paper. And
then after I got done sketching it out, I
| | 00:28 | scanned it, brought it into
Photoshop, enhanced the colors a little bit.
| | 00:31 | That's about it and then placed the
image into this document, right here, which
| | 00:36 | is called Scanned artwork.ai.
| | 00:37 | It's found inside the 18 Live Trace folder.
| | 00:41 | This is one of those sketches really,
more than an illustration that looks
| | 00:46 | better when we are zoomed out from
it, than when we are taking it in up
| | 00:50 | close and personally.
| | 00:51 | You can see this thumbnail here
inside the Layers palette, I actually think
| | 00:54 | looks pretty darn good, whereas the
illustration itself does look sketchy and
| | 00:59 | unfinished and sort of roughly hewn.
| | 01:02 | The great thing about Illustrator's
Live Trace feature is that it's not
| | 01:05 | necessarily the most accurate
function on earth, in terms of getting every
| | 01:09 | single outline exactly right,
| | 01:10 | but it's a very expressive function,
and it does a great job of simplifying an
| | 01:16 | image into its most important components.
| | 01:19 | And I think that's what this
sketch really needs, as it turns out.
| | 01:22 | So, here is what I like you to do.
| | 01:23 | Twirl open the Image layer and
meatball that Astronaut item, which is the
| | 01:29 | imported scanned artwork, and you can
see that we are linked to a file called
| | 01:33 | Mayan astronaut.tif that is also
inside of the 18 Live Trace folder.
| | 01:39 | Let's go ahead and trace it.
| | 01:41 | For starters, let's apply the last trace
settings that we saved off a couple of exercises ago.
| | 01:47 | And you can see down here, inside
of this dropdown menu, is an item
| | 01:51 | called Smooth letters, those are the
settings that we applied to the hand drawn alphabet.
| | 01:55 | So I am going to go ahead and choose the
settings and I am going to get an alert
| | 01:59 | message that's telling me, hey this is
going to be slow because this is a very
| | 02:03 | high resolution image.
| | 02:04 | In fact, if we look up here in the
Control palette, we can see that the
| | 02:07 | resolution is set to 300 Pixels Per Inch.
| | 02:10 | So before we had a 72 PPI
illustration, now we have 300.
| | 02:13 | 300 is about four times as large as 72,
so four times as many pixels wide, four
| | 02:19 | times as many pixels tall, more
than 16 times as many pixels in all, and
| | 02:23 | that means that, potentially, this is going
to take 16 times as long. Well, we'll see.
| | 02:28 | Go ahead and click OK, in
order to start things on their way.
| | 02:32 | Now, you will see a Progress bar.
Just go ahead and wait it out.
| | 02:35 | It will take a little bit of time to apply this.
| | 02:37 | This is a fairly speedy
machine that I am working on.
| | 02:40 | And once it gets done, we are going
to see, well, not really a great result.
| | 02:45 | Actually, it looks like garbage, and the
reason it looks so bad is because this
| | 02:49 | Threshold setting is set so high.
| | 02:51 | Most of the colors are turning black
and only a few colors are turning white.
| | 02:55 | So, to balance things a little better, I
am going to change this Threshold value
| | 02:59 | to 120 and press the Tab key to advance
to the Min Area option, and as soon as I
| | 03:05 | do, Illustrator is going to begin a
new preview and it does take a moment.
| | 03:11 | Once again, it takes about the same
amount of time to apply this time around.
| | 03:15 | But the outcome will look significantly
better, I promise you. And there it is.
| | 03:21 | Indeed, it does look better.
| | 03:22 | Let's go ahead and zoom in on the illustration.
| | 03:25 | Now we do have some roughness and this
is some of that noise I was telling you
| | 03:29 | to watch out for in the previous exercises.
| | 03:32 | When you scan an image in, you are
going to get all kinds of paper texture, as
| | 03:36 | well as things like dust and
scratches and all that jazz.
| | 03:39 | And what are really seeing here,
actually my scanner is pretty clean.
| | 03:42 | What we are seeing here is paper texture,
artifacts, and just basic inking and
| | 03:46 | stuff like that that's going on.
| | 03:48 | We don't want to trace every single
microscopic detail inside of this image.
| | 03:54 | So we don't want Min Area
cranked down to 0 pixels.
| | 03:57 | Let's go ahead and take this value up to
60 pixels instead and press the Tab key
| | 04:03 | once again to invoke yet another happy preview.
| | 04:06 | So again, we'll just have to wait it out.
| | 04:08 | Now don't be surprised if your
previews take a little more time to apply, we
| | 04:12 | are speeding ours up, so I am not
wasting your time here on the video.
| | 04:15 | But once it finishes, fast or slow,
you are going to see much smoother
| | 04:19 | results inside of your illustration,
not nearly so many tiny little dust
| | 04:24 | particles all over the place.
| | 04:26 | So now this is the black and white
version of the scanned artwork, the kind of
| | 04:30 | thing you might expect from a
sophisticated photocopier, for example.
| | 04:33 | In the next exercise, we are going to
take this traced artwork and transform it
| | 04:37 | into a full color illustration.
| | Collapse this transcript |
| Tracing full-color artwork| 00:01 | Now, let's take the black and white
tracing that we created in the previous
| | 00:05 | exercise, and turn it into a
full color piece of artwork.
| | 00:09 | If you want to catch up with me, I am
working on an illustration called B&W
| | 00:13 | astronaut.ai and it does contain an Image
layer that has a tracing object inside of it.
| | 00:20 | Go ahead and meatball that tracing
object, and then I want you to click on
| | 00:24 | this option right here, the Tracing
options button, in order to bring up the
| | 00:28 | Tracing Options dialog box.
| | 00:30 | Now, we are going to be
modifying quite a few settings,
| | 00:32 | so I don't recommend you
turn on the Preview checkbox
| | 00:36 | because if you do, every time you tab
from one setting to the next, you are going
| | 00:40 | to invoke that very slow preview, and as
soon as we go into color, from black and
| | 00:44 | white into color, this is going to
become a very slow experience indeed, at a
| | 00:49 | resolution of 300 pixels per inch.
| | 00:52 | So, leave Preview turned off, and go ahead
and choose Color from the mode pop-up menu.
| | 00:57 | The Threshold option becomes dimmed, and
we now have palette and Max Color options.
| | 01:02 | Leave palette set to Automatic, so
that Illustrator automatically generates a
| | 01:05 | color palette for us.
| | 01:07 | But let's raise the number of colors from 6.
| | 01:09 | Now, the most colors we can create is 256.
| | 01:12 | I am going to go ahead
and divide that value by 8.
| | 01:17 | It's a fairly arbitrary thing to do, but
I am going to take the number of colors
| | 01:20 | down to 32, and I am going to go ahead
and output those 32 colors as swatches
| | 01:27 | inside the Swatches palette, which
as we'll see in the next exercise, is a
| | 01:31 | really great thing to do.
| | 01:33 | It gives you all kinds of control
over the color of your final artwork.
| | 01:38 | Now, I am going to Tab past Blur. We'll
leave that set to 0 pixels, because I
| | 01:43 | don't want to apply any
blur to this scanned artwork.
| | 01:46 | This is already perfectly fine line art.
| | 01:48 | albeit a sketch.
| | 01:49 | But I do want to resample the
image down to 72 pixels per inch.
| | 01:53 | We do not need all 300 pixels per inch.
| | 01:56 | It's great that I scanned that many
pixels, fine, but let's not trace them all.
| | 02:00 | It's going to take too much time, and
it's really not going to deliver us that
| | 02:03 | much better results,
| | 02:04 | especially since I do want to
simplify the artwork. You may recall from the
| | 02:08 | previous exercise, because it's a sketch,
I want to distill it a little bit, and
| | 02:13 | by downsampling the image, I
can go ahead and simplify it.
| | 02:17 | Another way to simplify my artwork
is to raise the Path Fitting value.
| | 02:21 | So that I let the vector stray farther
from the original pixel information.
| | 02:25 | So I am going to take that
Path Fitting value up to 5 pixels.
| | 02:28 | Minimum Area is fine at 60 pixels,
Corner Angle is fine at 45 degrees.
| | 02:33 | Let's go ahead and turn
off Ignore White, however.
| | 02:36 | Ignore White is great when you are
scanning black and white artwork,
| | 02:39 | not so useful when scanning
grayscale or color artwork, and that's it.
| | 02:44 | Now, let's turn on the Preview checkbox,
| | 02:46 | but, actually, lets move things down
a little bit, so that we can see the
| | 02:49 | effect on screen here.
| | 02:50 | So I turned on the Preview checkbox,
and now we are waiting for the application
| | 02:55 | to do its magic, of course.
| | 02:57 | And you may see a couple of Progress
bars in a row there, and I am warning you
| | 03:01 | about that because it's very tempting
to think after the first Progress bar
| | 03:04 | everything is done, and then start
clicking Trace or moving the dialog box
| | 03:09 | around or something along those lines.
| | 03:10 | And that can cause Illustrator to
get a little sort of weird on you.
| | 03:14 | So wait out both of the Progress bars,
and then once you are done if you like
| | 03:18 | what you see, which I do actually, go
ahead and click on the Trace button in
| | 03:22 | order to apply the Trace effect.
| | 03:25 | Now there is one thing that I
forgot to do and I am going to do it now.
| | 03:28 | I forgot to save out a preset.
| | 03:29 | It's a really great idea to save your
presets, because the Trace function has a
| | 03:35 | habit of going back to its
default settings every single time.
| | 03:38 | For example, if I was to visit a
different image now, it would resort to
| | 03:42 | its default setting.
| | 03:43 | It wouldn't remember
the last settings I applied.
| | 03:45 | So might as well go ahead and
save those settings if you like them.
| | 03:49 | And you can do that by clicking on
this button, once again, to bring up the
| | 03:52 | Tracing Options dialog box.
| | 03:54 | This time we don't need to
worry about turning on Preview.
| | 03:56 | We are not going to be doing
anything that's worth previewing.
| | 03:58 | Just click on Save Preset.
| | 04:00 | And I'll go ahead and call this Full-color
scanned art or something along those lines.
| | 04:04 | And then I'll click OK.
| | 04:06 | And that new preset shows up right there,
inside the Preset pop-up menu and now I
| | 04:11 | will click Trace once again.
| | 04:13 | We shouldn't see really any Progress
bars or anything come up at that point.
| | 04:17 | And you will now see this preset
available to you in the future, both inside of
| | 04:22 | the Trace Options dialog box, as well
as from that dropdown menu in the Control
| | 04:27 | palette, and there it is.
| | 04:28 | We have now created a simplified
version of our scanned line art.
| | 04:33 | In the next exercise, I am going
to show you how to modify specific
| | 04:36 | colors inside of this scanned art,
using the new colors swatches here
| | 04:40 | inside the Swatches palette.
| | Collapse this transcript |
| Editing a traced color swatch| 00:00 | In the previous exercise, we
converted our traced image into a full
| | 00:05 | color illustration.
| | 00:07 | In doing so, we went ahead and
output the Automatic Color palette, all 32
| | 00:11 | colors, to the Swatches palette right here.
| | 00:15 | To see what I am talking about, you can open,
if you are just joining us, you can open this
| | 00:19 | illustration called Full-color Mayan.ai.
| | 00:21 | That's found inside of the 18_Live Trace folder.
| | 00:25 | Then go ahead and open up your Swatches palette.
| | 00:27 | You will see every single one of
these swatches that has a small white
| | 00:31 | triangle in the corner.
| | 00:32 | Those are the swatches that were exported
automatically by the Live Trace function.
| | 00:38 | What I have done in advance is I had gone
ahead and emptied out the Swatches palette.
| | 00:42 | So really just about every single
one of these swatches comes to us from
| | 00:46 | the Live Trace feature.
| | 00:47 | The fact that they have little
triangles in the corners mean that they are
| | 00:50 | global swatches, so that we can edit
a swatch and modify the corresponding
| | 00:55 | colors inside of the Live Trace objects.
| | 00:58 | So to see what I mean, let's go
ahead and identify a color inside of this
| | 01:03 | Live Trace by making sure the tracing object
is meatballed here inside the Layers palette.
| | 01:09 | Then grab the eyedropper tool in the
toolbox, and the color that I am interested
| | 01:13 | in changing is this light blue up here.
| | 01:15 | You see this light blue area right there?
| | 01:17 | Go ahead and click on it in order to
identify that color inside the Swatches palette.
| | 01:22 | Now you are going to see a
couple of progress bars go by.
| | 01:24 | Once they are done, because Illustrator has to
kind of dig into the traced object, once it's done,
| | 01:30 | you should see a selected swatch
here inside the Swatches palette.
| | 01:34 | It happens to be, for me, it's
Tracing 13 is the name of the swatch.
| | 01:38 | I'll go ahead and double-click on it
in order to modify that color swatch.
| | 01:43 | Let's just go ahead and make sure that
we have got the right swatch selected by
| | 01:46 | changing it to a very different color.
| | 01:49 | I'll go ahead and increase the magenta
value through the roof there, so that we
| | 01:52 | have quite a shade of purple going.
| | 01:54 | Then turn on the Preview check-box and
we should see all of these regions change
| | 01:58 | inside of the Live Trace artwork.
| | 02:01 | So even though it's still this Live
Trace function and it's still subject to the
| | 02:06 | parametric settings that you applied,
you can still go in and fool around with
| | 02:11 | the colors, so long as you took
the time to output those swatches.
| | 02:15 | So it's very important that you output
the swatches by selecting that Output to
| | 02:19 | Swatches check-box, as we
did in the previous exercise.
| | 02:23 | So having done that, I am going to go
ahead and dial-in a color that I like.
| | 02:27 | Notice that we are not seeing any progress bars.
| | 02:30 | Illustrator is working very quickly now.
| | 02:33 | I want something that's kind of a
dimmer shade of green, actually.
| | 02:38 | So let's go ahead and increase these values,
until we get something along these lines.
| | 02:42 | Actually, I like that quite a bit for these
specific objects inside of the illustration.
| | 02:47 | Now I'll go ahead and click OK.
| | 02:48 | Now, what might be troubling you more is
the sort of green elements inside of the face.
| | 02:54 | Now they were there, as it turns out.
| | 02:57 | My original sketch has some green
inside of the lips and inside of the nose
| | 03:02 | but in simplifying things, Illustrator
has ended up calling a lot of attention
| | 03:06 | to those green areas.
| | 03:07 | So let's say I want to lift this green
right here on the bottom lip and after a
| | 03:11 | couple of progress bars, Illustrator
identifies it as being this green right here,
| | 03:15 | Tracing 12, in fact,
inside the Swatches palette.
| | 03:18 | I'll go ahead and double-click on it
and if I try to change this color, like I
| | 03:21 | will change it to a yellow, just so that we
can identify once again, and turn on Preview,
| | 03:26 | you'll see that a lot of very
important greens end up turning yellow on us.
| | 03:30 | So I don't want all of those greens
to turn yellow, just the ones that
| | 03:33 | are inside the lip. What do I do?
| | 03:35 | Well, I am going to go ahead and
cancel out and I am going to show you the
| | 03:39 | solution because it relies on the
Live Paint feature inside of Illustrator.
| | 03:44 | I am going to show you that
solution in the next exercise.
| | Collapse this transcript |
| Recoloring traced details in Live Paint| 00:00 | I am still working inside that same
Full-color Mayan.ai file that I opened in
| | 00:05 | the previous exercise.
| | 00:06 | Now as you may recall, we went ahead
and changed one of the colors inside of
| | 00:11 | this Live Trace object.
| | 00:12 | However, we weren't able to change
the green, these little bits of green
| | 00:16 | here, inside of the guy's lips because they
influence greens throughout the illustration.
| | 00:23 | That green swatch, this guy right here,
which is Tracing 12 is linked to green
| | 00:29 | objects throughout the illustration,
things that we really want to remain green.
| | 00:34 | So how do we change some greens and not others?
| | 00:37 | Well, we do that by converting this
Live Trace to a Live Paint object.
| | 00:41 | We are going to be discussing Live Paint
in way more detail in the next chapter,
| | 00:45 | but this is just a little bit of a
preview, and a very cool preview at that.
| | 00:49 | So, assuming that you are otherwise done
with your tracing, you have established
| | 00:54 | the settings that you want to establish,
| | 00:55 | you don't want to monkey around
with the parametric settings anymore,
| | 00:58 | then I want you to go up to the
Control palette, and I want you to click on
| | 01:01 | this button right here, Live Paint in
order to convert this Live Trace object
| | 01:05 | into a live paint object.
| | 01:08 | Illustrator is going to go through its
usual progress bars in order to figure
| | 01:11 | out how that transition is going to work out.
| | 01:13 | A few moments later you will see just a
million selection outlines all over your
| | 01:19 | screen, representing the Live Paint object.
| | 01:22 | Go ahead and press Ctrl+H or
Command+H on the Mac in order to hide
| | 01:27 | those selection outlines.
| | 01:28 | Note that we now have a Live Paint
object here inside the Layers palette.
| | 01:33 | So I want you to go down to this tool
right here, the Live Paint Bucket, inside
| | 01:38 | of the toolbox, a couple of
tools down from the Eyedropper.
| | 01:41 | Go ahead and grab it.
| | 01:43 | Notice what you are seeing here.
| | 01:45 | It's going around and highlighting the
specific path that you are hovering over,
| | 01:50 | as you move your cursor around on screen,
| | 01:52 | not only that, we are seeing a
handful of colors, a little triad of colors
| | 01:56 | above the Paint Bucket.
| | 01:58 | So here is what I want you to do.
| | 02:00 | Move your cursor down until you
get one of the green lip objects.
| | 02:04 | Then I want you to press the Right
Arrow key a couple or three times, three
| | 02:08 | times in all, in order to advance
to this color swatch right here.
| | 02:13 | Notice that it's advancing through its
color swatches in the order that they appear
| | 02:17 | in the Swatches palette.
| | 02:19 | So we are only seeing three colors at a
time, but we are using the Right Arrow
| | 02:23 | keys and the Left Arrow keys
to advance through those colors.
| | 02:26 | Do you see how that works?
| | 02:27 | So I'm going to press, in my case, I have got to press the
Right Arrow key in order to select that
| | 02:31 | brown right there that we can see
selected above the Paint Bucket.
| | 02:35 | Then click to lay that
color down in that lip area.
| | 02:38 | Then click here to lay it down there,
inside that green shape, and click again to
| | 02:44 | lay it inside of that green shape.
| | 02:46 | You might want to change this green, and
this green, and this little green on his eye.
| | 02:52 | Then again, you might not
want to change all those greens.
| | 02:54 | Sometimes it's nice to have a
little variety in the color.
| | 02:57 | Then if you want to just grab a very
specific color, for example, I want to
| | 03:02 | change this weird green that's right
here inside of his mouth, just on the under
| | 03:07 | side of the top lip, but that's pretty far away,
the brown that I want to access is pretty far away
| | 03:12 | right now, which would mean I would
have to press the Left Arrow key several
| | 03:15 | times to advance to it, or I would
just go ahead and select that color here
| | 03:19 | inside the Swatches palette.
| | 03:21 | Then move my cursor down and notice
that color is now the center of the little
| | 03:26 | color swatches inside that triad.
| | 03:27 | Then I will click in order to lay
it down inside of my illustration.
| | 03:32 | All right, so there you have it.
| | 03:34 | Let's go ahead and switch away, actually,
from the Live Paint Bucket tool, so that
| | 03:38 | we don't have all those
highlights going on screen.
| | 03:40 | There is an integration, just an
example of many different ways to work with
| | 03:44 | Live Trace and Live Paint inside of Illustrator.
| | 03:47 | As I say, I am going to show you more
ways inside the Live Paint chapter, which
| | 03:51 | is coming right up, but first in the
next exercise, we are going to take a look
| | 03:55 | at how to trace a portrait photograph.
| | Collapse this transcript |
| Tracing portrait photography| 00:00 | Now let's see how we can use the
Live Trace feature to trace a piece of
| | 00:04 | portrait photography.
| | 00:06 | Of course, you can trace any piece of
photography you want, but it happens to
| | 00:09 | be quite outstanding for portrait
photography, under the right circumstances, and
| | 00:14 | we are going to investigate those circumstances
over the course of this and the next exercise.
| | 00:19 | So I want you to open this document.
| | 00:21 | It's called Profile portrait.ai.
| | 00:24 | It's found inside of the 18 Live Trace
folder. Then go to the Layers palette,
| | 00:28 | twirl open the Image layer and meatball
the Profile object, which is the scanned
| | 00:34 | image that I have imported into this
illustration, and you will notice that the
| | 00:37 | scanned image is a file called
Aleksandra Alexis.jpg, also inside the 18 Live
| | 00:44 | Trace folder so named
after the photographer herself.
| | 00:48 | This time, I suggest that we go
ahead and apply the last preset that we
| | 00:52 | applied, which is Full color scanned art,
but before we do I want you to look
| | 00:56 | at the Swatches palette. Notice that I
do have some swatches assembled inside
| | 00:59 | of this Swatches palette.
| | 01:01 | These swatches are going to come
in very handy in the next exercise.
| | 01:04 | But for now I just want you to note
they are there, because we are going to add
| | 01:07 | a bunch more swatches.
| | 01:09 | Because one of the settings that's
associated with the Full color scanned art
| | 01:12 | preset, as you may recall, is to output
the swatches, so just bear that in mind.
| | 01:16 | Anyway, as soon as I choose Full color
scanned art, which are the settings, the
| | 01:20 | collection of settings that we apply to the
Mayan astronaut in the previous few exercises,
| | 01:26 | we will send the Illustrator on its
way. We will be visited, of course, by at
| | 01:30 | least one, maybe two progress bars.
| | 01:32 | And once Illustrator is done we
will see the trace artwork that you see
| | 01:35 | before you right now.
| | 01:36 | And I m going to press Ctrl+H, or Command+H
on the Mac in order to hide that big
| | 01:40 | blue X we were seeing a moment ago
that represents the selected frame.
| | 01:44 | There is a lot to like and a lot not to like
about this scanned version of the portrait.
| | 01:49 | I love the hair, the hair looks so good.
| | 01:53 | And it looks like she added an extra
gallon of moose and I think her hair looks
| | 01:57 | all the better for it.
| | 01:58 | The background also looks pretty nice.
I love the modeling that's going on there.
| | 02:02 | What I don't like is the
reticulation of detail inside the face.
| | 02:06 | It's a little too edgy in my opinion,
a little too scrape-y, and then also the
| | 02:12 | colors leave something to be desired.
| | 02:13 | Well, we will take care of the edges a
little bit, there is only so much we can do,
| | 02:17 | but we will take care of some of the
edges inside of this exercise and then in
| | 02:20 | the next exercise, we will
take care of the colors.
| | 02:24 | Now note, I do want to draw your
attention to the Swatches palette, we now have a
| | 02:27 | new series of global swatches, those
swatches that have little triangles in
| | 02:32 | their lower right corners.
| | 02:33 | Might as well go ahead and get rid of those.
| | 02:35 | We are not going to be using those,
and they are kind of trashing up the
| | 02:37 | Swatches palette, so click on the
first one, Shift+Click on the last one, and
| | 02:41 | go ahead and Alt+Click, or Option+Click
on the Trash Can to delete them all
| | 02:46 | without getting a warning.
| | 02:47 | And that's not going to affect the
colors inside of the illustration one iota.
| | 02:51 | They are just there in case you
want to use them. If you decide to throw
| | 02:54 | them away, no problem.
| | 02:56 | Let's do go ahead and modify the Settings
that we have applied to this tracing object.
| | 03:01 | The tracing object is still meatballed,
even though we are not seeing the
| | 03:04 | selection X going on on-
screen because we hid that.
| | 03:08 | Go ahead and click on this button
right here to bring up the Tracing
| | 03:11 | Options dialog box.
| | 03:12 | Now, one of the keys to getting good
photographic tracings is to keep things simple.
| | 03:19 | So here's what I am going to recommend we do.
| | 03:20 | Leave mode set to Color.
| | 03:22 | That's fine. Palette set to
Automatic is fine right now.
| | 03:25 | Go ahead, although you can
choose other palettes if you want to.
| | 03:29 | Now these Earth Tone and Ice Cream
palettes, these are palettes that ship along
| | 03:33 | with Illustrator that you
can bring up if you want to.
| | 03:35 | But I have had them open during this session.
| | 03:38 | You won't see these palettes listed.
| | 03:39 | You will have to choose palettes
that you've had open during the current
| | 03:42 | session inside of Illustrator.
| | 03:44 | And at one time or other these were
open so they remain active for me.
| | 03:48 | But neither of them is going
to do any good for us right now.
| | 03:50 | Just go ahead and leave
that set to the Automatic.
| | 03:52 | Max Colors, I am going to go ahead and
reduce that value to 27. Go ahead and
| | 03:56 | take it down to 27 as well
if you are working with me.
| | 03:58 | Turn off Output to Swatches.
| | 04:00 | I am going to increase the Blur value.
The Blur value tends to be very useful
| | 04:05 | when tracing photographs. You may
want to take it higher than this.
| | 04:08 | I am just going to take it to 1
pixel, just a little bit of blur.
| | 04:12 | Resample is fine, set to 120 pixels.
| | 04:14 | In other words, we are using all
120 pixels that came with the image.
| | 04:18 | If you look over here at the image PPI
it is 120, so we are not downsampling
| | 04:22 | for this specific image.
| | 04:24 | Let's take the Path Fitting value
down to 4 pixels for this image.
| | 04:28 | It just happens to work a little better.
| | 04:29 | We've got some areas around the nose
that we need to make sure we're matching,
| | 04:33 | and around the lips as well.
| | 04:34 | So I want to keep the Path Fitting
pretty tight, but not too tight, obviously.
| | 04:39 | The Minimum Area option needs to go
much higher, because we've got all kinds
| | 04:43 | of noise going on inside of this
digital photograph, as is true with most
| | 04:47 | digital photographs.
| | 04:48 | And then Corner Angle of 45 degrees
in fine, Ignore White, leave it turned
| | 04:52 | off and turn on the Preview checkbox, and
let's see what kind of difference it makes.
| | 04:56 | Obviously, we'll have to wait for the progress
bars, possibly two progress bars to go away.
| | 05:01 | And once Illustrator has done its
thing we get this softer version of the
| | 05:07 | portrait right here, which I
think is a little more becoming.
| | 05:09 | We still have some reticulated edges.
Those are pretty difficult to get rid of
| | 05:13 | unless we really send the
blur value through the roof.
| | 05:15 | But I think this is looking pretty darn nice.
| | 05:18 | The only thing I don't like, I am
going to go ahead and click on the Trace
| | 05:21 | button here in order to finish the process,
the only thing I don't like is the colors.
| | 05:26 | The colors are too muted, they are too
brown, they are too warm. We have a few
| | 05:30 | odd blues and purples showing up.
| | 05:33 | But I need more vibrant reds going on
inside of this image and that's something
| | 05:38 | that we are going to achieve, we are
going to recreate these colors fairly
| | 05:42 | manually as it turns out,
inside of the next exercise.
| | Collapse this transcript |
| Preparing a Live Trace color palette| 00:01 | In this final exercise, I am going to
show you how to put together a custom
| | 00:05 | color palette that you can use
to trace a portrait photograph.
| | 00:09 | Now it involves a little bit of labor,
as it turns, and I have done most of the
| | 00:13 | work for you, in the case, in the case of this
exercise, but when you actually attempt this
| | 00:17 | yourself, get ready for a little bit
of work, but it's definitely worth it.
| | 00:21 | Now let me show you what's wrong
with this particular tracing here.
| | 00:25 | I am working inside of a document -
incidentally, if you are just joining me -
| | 00:28 | called Muted colors.ai that's
available inside of the 18_Live Trace folder.
| | 00:34 | I have named it Muted colors
because the colors are awfully muted.
| | 00:37 | Now you may look at this tracing and
say, "Well, I am not sure the colors
| | 00:40 | "are all that muted."
| | 00:41 | We will check it out here.
| | 00:42 | I will go up to the Control palette and
I will switch this first pyramid, this
| | 00:46 | black sort of jagged pyramid here,
| | 00:48 | I will change it to original image, so
we can see the original version of the
| | 00:52 | image underneath the trace.
| | 00:54 | Then I will go ahead and change the
trace setting to No Tracing Result, so that
| | 00:59 | we can see the image by itself.
| | 01:00 | Did you see those colors pick up?
| | 01:02 | They are much more vibrant,
much more red as well.
| | 01:06 | So more reddy, more fleshy.
| | 01:08 | So this is the tracing result, more
muted, more yellow, more jaundiced,
| | 01:14 | not nearly as good.
| | 01:15 | What's happening here is all of this
hair is really informing the face colors
| | 01:20 | and so is the background. This orange
background is informing the face as well.
| | 01:24 | So we need to override that
somehow and here is what I did.
| | 01:28 | All right, so I will go ahead and
change the setting to No Tracing Result once
| | 01:31 | again, so we can see the original photograph.
| | 01:33 | I lifted colors, I lifted my
own colors. Using the Eyedropper,
| | 01:37 | I lifted my own colors and put them
inside of the Swatches palette right there.
| | 01:41 | So you see the colors that I am
suggesting we use and they actually work out
| | 01:45 | pretty well, but here is how I assembled them.
| | 01:47 | You get the Eyedropper tool and then
you click on a representative color.
| | 01:51 | For example, something like this forehead right here,
forehead color, go ahead and click
| | 01:56 | on it in order to load that color as a swatch.
| | 02:01 | Then go over to the Swatches palette and
I suggest you Alt+Click, or Option+Click
| | 02:06 | on this New Swatch icon.
| | 02:07 | The reason I am Alt+Clicking, or Option+
Clicking is so that I bypass the dialog box.
| | 02:12 | So I am not asked to name it every
single time I create a swatch because
| | 02:15 | otherwise, you are going to do a lot of naming.
| | 02:17 | There is no reason to name these
swatches, just go ahead and get them into
| | 02:20 | the Swatches palette.
| | 02:22 | Then you might want to load something
that's nice and red, like this pink eye
| | 02:26 | makeup right there. That sort
of matches her lips as well.
| | 02:29 | Then go ahead and Alt+Click to load
that and you would load this eye color,
| | 02:33 | this sort of bluish eye color that's lacking
from the traced artwork we saw just a moment ago.
| | 02:37 | Go ahead and lift that and Alt+Click, or
Option+Click on the little New icon in
| | 02:41 | order to load it into the
Swatches palette, and so on, and so on.
| | 02:45 | So you want to assemble a bunch
of representative colors, right?
| | 02:48 | You need some dark colors.
| | 02:49 | You need some light colors.
| | 02:50 | You need that little bit of blue right there.
| | 02:52 | That's the inside of the eye that I made.
| | 02:55 | That color right there is
her eye color, the iris color.
| | 02:59 | So I lifted it from this region.
| | 03:01 | Well, you don't have to
lift a very specific color.
| | 03:03 | You just need to lift a
general color from that region.
| | 03:06 | You don't want to ignore the hair and you
don't want to ignore the oranges in the background.
| | 03:10 | So you have to figure out how to lift
good colors here and there inside the
| | 03:14 | illustration and that's where the work
is involved is finding the good colors.
| | 03:19 | You need to have a little bit of an eye
and you need to experiment is basically
| | 03:22 | what it comes down to, but I have
done the labor for you right here.
| | 03:26 | So let's just go ahead and put it in play.
| | 03:28 | I am going to go ahead and select these
three colors that I just added a moment
| | 03:31 | ago because it will kind of
mess things up, if we use them.
| | 03:34 | I will throw them away by Alt+Clicking
or Option+Clicking on the trash can.
| | 03:38 | Here is what we need to do.
| | 03:40 | We need to take these color swatches
from the Swatches palette and generate an
| | 03:44 | independent swatch library.
| | 03:47 | To do that, you click on that brown and
then Shift+Click on the white in order
| | 03:52 | to select that range of colors right there.
| | 03:54 | You should have 27 colors selected
in all, if you want to count them, but
| | 03:58 | really, you don't need to.
| | 03:59 | Just make sure you don't have None or
Registration selected and you are good to go.
| | 04:04 | Then I want you to click on the
Swatch Libraries menu icon right there and
| | 04:08 | choose Save Swatches.
| | 04:10 | You will be invited to save these
swatches off to a specific folder.
| | 04:15 | Go ahead and save to that folder, don't
hunt around your system for a different
| | 04:18 | folder on your hard drive.
| | 04:19 | Go ahead and save to this specific
Swatches folder because that's the folder
| | 04:22 | that Illustrator likes to use.
| | 04:25 | You are going to be saving an ai
file, an Adobe Illustrator file, so a
| | 04:28 | standard Illustrator file.
| | 04:29 | I want you to name this file
Aleksandra colors, after the photographer.
| | 04:35 | Then go ahead and click the Save button
in order to save off that color palette.
| | 04:40 | So that won't take any time.
| | 04:41 | Now you need to load the
color palette into Illustrator.
| | 04:45 | Even though those colors are sitting
right there inside the Swatches palette,
| | 04:48 | that's not good enough.
| | 04:49 | You need to load them inside of a
separate palette by going to this option once
| | 04:53 | again, choosing User Defined, and
then choosing Aleksandra colors.
| | 04:57 | It should be the only one that's
available there, unless you have created your
| | 05:00 | own swatches in the past.
| | 05:02 | Then you will load this independent
palette, as we are seeing right there.
| | 05:06 | All right, so I will make my thumbnails a
little bigger, so that we can see them all.
| | 05:09 | I will drag this over, so that we can
see every single one of the colors inside
| | 05:14 | of this wonderful
palette that's available to us.
| | 05:17 | Now let's apply the
palette to the scanned artwork.
| | 05:20 | I am going to bring up the tracing
result once again by choosing it from the
| | 05:25 | white pyramid here
inside of the Control palette.
| | 05:29 | Then we are going to revisit our setting.
| | 05:31 | So click on the Tracing Options button.
| | 05:33 | This assumes, of course, that the
tracing is active, that it's meatballed here
| | 05:37 | inside of the Layers palette, as it is for me.
| | 05:40 | Go ahead and click on the button in
order to bring up the Tracing Options and
| | 05:44 | let's go ahead and switch palettes from automatic,
| | 05:46 | all the other settings are just fine as it is.
| | 05:48 | Switch the palette from
Automatic to Aleksandra colors.
| | 05:51 | As I was telling you in a previous exercise,
you probably won't see earth tone or ice cream.
| | 05:55 | Those are palettes that I
have loaded in the past.
| | 05:57 | All right, so choose Aleksandra
colors that should be available to you.
| | 05:59 | Max Colors is set to 27, by default, so
you can't override that because there
| | 06:03 | are just 27 colors inside of this palette.
| | 06:06 | Then turn on the Preview check-box in order
to see how much better this palette works.
| | 06:12 | Now it's not going to look exactly perfect.
| | 06:14 | I will warn you about that, but it's
going to look a heck of a lot better than
| | 06:17 | it does now, which is the key,
of course, to everything.
| | 06:19 | Notice how much it warms up
on screen here. All right.
| | 06:23 | It's so much better using this palette, I think.
| | 06:26 | We are done, go ahead and click on the
Trace button in order to apply your settings.
| | 06:32 | All right, so here is before, Muted
colors, very yellow, as you can see here and
| | 06:37 | here is after, beautiful,
bright, vivid, warm, flesh tones.
| | 06:41 | A few interesting details as well here,
these yellow streaks of the hair and a
| | 06:46 | couple of green streaks in the hair as well
that are coming from the iris. That's just fine.
| | 06:50 | Of course, I could fix those using the Live
Paint feature, as I showed you a few exercises ago.
| | 06:55 | This is portrait photography traced
inside of Adobe Illustrator and there
| | 07:00 | is more to come folks.
| | 07:01 | In the next chapter, we are going to
explore the world of Live Paint and after
| | 07:06 | that we will see the world of Live
Color, here inside Illustrator CS3.
| | Collapse this transcript |
|
|
19. Live PaintAnother way to fill, stroke, and color| 00:00 | Live Paint gives Illustrator the
ability to detect and color intersecting
| | 00:04 | areas in an illustration.
| | 00:06 | So rather than seeing everything in
terms of discreet objects that overlap and
| | 00:10 | cover each other, as Illustrator
typically does, Live Paint sees your
| | 00:13 | illustration as a coloring book,
comprising lines that trace areas that are just
| | 00:18 | waiting to be filled with color. Like
panes of glass in a stained glass window,
| | 00:22 | each intersection becomes its own thing.
| | 00:24 | Illustrator's approach to making
Live Paint objects is unusual as well.
| | 00:29 | Rather than requiring you to create the
specialized object and then edit it, as
| | 00:33 | with, say, groups and sub-layers, or
click on a big Live Paint button in the
| | 00:38 | Control palette as with Live Trace,
| | 00:40 | you merely select two overlapping
shapes and click on them with the Paint Bucket.
| | 00:44 | This both fills the intersection
and establishes the Live Paint group.
| | 00:48 | From that point on, you can add lines
and shapes to the group, pull panels out
| | 00:52 | of the group, and further
modify fills and strokes.
| | 00:55 | Illustrator also lets you convert a
Live Trace object to Live Paint and here,
| | 01:00 | incidentally, you do click a Live
Paint button in the Control palette.
| | 01:03 | This allows you to color your traced
artwork, just as you would color it if
| | 01:07 | using traditional tools.
| | 01:08 | The practical upshot is that you can
take a conventional sketch and convert it
| | 01:13 | to a vector graphic more quickly and with less
frustration than in the past. One last note.
| | 01:19 | If you have been doing this kind of scan
and color work in Photoshop, Live Paint
| | 01:23 | actually makes it easier to
pull it off in Illustrator.
| | 01:26 | For one thing, you have control
over intersecting strokes, something
| | 01:29 | Photoshop doesn't offer.
| | 01:31 | Plus, you can easily re-color areas, a trick
that can be a bit arduous inside Photoshop.
| | 01:36 | Who would have thunk Illustrator
would one day excel in the ease-of-use and
| | 01:40 | straightforward-approach departments and
it's hardly a case of dumbing down the program.
| | 01:44 | It's smart-and-sit-up so you can dumb down you.
| | Collapse this transcript |
| Creating interactions with blend modes| 00:01 | Let's start things off by dipping
our feet in the water of Live Paint.
| | 00:05 | I want to give you a sense of what
the feature does and what kinds of
| | 00:09 | problems it solves.
| | 00:11 | To that end, we are going to be
creating this very simple color primary diagram
| | 00:15 | that you see before you on screen.
| | 00:16 | We are going to start in this exercise by
creating the diagram the old fashioned way,
| | 00:21 | not really that old fashioned, but
as if there were no Live Paint feature
| | 00:25 | inside of Illustrator.
| | 00:26 | Then in the next exercise, we will see
how Live Paint makes our job much easier.
| | 00:31 | All right. I am working inside of a
document called Color primaries.ai.
| | 00:34 | It's found inside of the 19 Live Paint folder.
| | 00:38 | Notice that we have three shapes: red,
green and blue, interacting with each
| | 00:42 | other to create the print
primaries of cyan, magenta, and yellow.
| | 00:46 | Then in the center, where
everything overlaps, we have white.
| | 00:49 | We are doing that using
blend modes, as it turns out.
| | 00:52 | I am going to go ahead and twirl open Demo #1.
| | 00:55 | Notice there is two layers, Demo #2 is
turned off right now, Demo #1 is turned on.
| | 00:59 | Go ahead and twirl it open and you will see
that we do have a blue, green, and red shape.
| | 01:04 | That's all we have got
going inside of this document.
| | 01:06 | Blue is opaque and you can tell that it's
opaque because it has a hollow meatball.
| | 01:11 | So there is no transparency, no effects, no
live, nothing applied to it, just a static shape.
| | 01:16 | If you go ahead and click on the green
shape right here, you will see that it's
| | 01:19 | set to the Screen mode with an Opacity of 100%.
| | 01:22 | So green screened on top of blue
gives you cyan, because the two shapes are
| | 01:26 | lightning each other.
| | 01:28 | Then if you select the red shape, it too
is set to the Screen mode, 100% Opacity.
| | 01:33 | Red screened on top of green gives
you yellow, red screened on top of blue
| | 01:36 | gives you magenta, and red screened on top of
green, screened on top of blue gives you white
| | 01:42 | So that's what's going on.
| | 01:43 | The beauty of working with the blend
mode is not only do you get these extremely
| | 01:47 | accurate results, but also it's dynamic.
| | 01:51 | So you can move the shapes around and
the intersections move around with you.
| | 01:55 | It's all entirely
parametric, as I like to say.
| | 01:58 | So I will go ahead and undo those
modifications there in order to reinstate the
| | 02:03 | original positions of these circles.
| | 02:06 | Bad news is that we have these very
light strokes because basically, everything
| | 02:12 | is getting screened.
| | 02:13 | Now these strokes happen to be nice, rich blacks.
| | 02:17 | If I click on one of these shapes and
switch to the stroke, here inside the Color
| | 02:21 | palette, you can see that I have got
100% K, as well as 50 each of cyan,
| | 02:26 | magenta, and yellow.
| | 02:27 | So we have got a nice, rich black going on.
| | 02:30 | This is going to ensure that the
document is properly trapped, if we print it.
| | 02:33 | However, we still get these light
strokes because we are not using super
| | 02:37 | rich blacks, which we can't afford
to use, because we are trying to print
| | 02:41 | these blacks as well.
| | 02:42 | All right, so what's the solution?
| | 02:44 | You might say, if you have been keeping up with
everything that's been going on this series,
| | 02:48 | you might say, "Well, just apply the
blend mode to the fill, Deke. Don't
| | 02:52 | "apply it to the stroke.
| | 02:53 | "Then we won't have that problem."
| | 02:54 | All right. Well that's why
this Demo #2 layer exists here.
| | 02:58 | If you twirl close Demo #1 and hide it, and
then go ahead and show Demo #2 and twirl it open,
| | 03:04 | you will see that we once
again have red, green, and blue.
| | 03:08 | Again, the blue shape is
totally opaque, normal 100%.
| | 03:12 | If I were to meatball green, it shows
up as normal 100% inside the Transparency
| | 03:16 | palette, but let's switch
over to the Appearance palette.
| | 03:18 | You can see that the Fill, if you twirl
it open, is set to Screen, whereas the
| | 03:23 | Stroke is set to normal.
| | 03:24 | So the stroke is not
interacting but the fill is.
| | 03:28 | Then the same goes for red.
| | 03:29 | If you meatball the red shape, you
will see that its Fill is set to Screen.
| | 03:32 | Its Stroke is totally opaque.
| | 03:35 | Nothing else is going on inside of
the shape, no other blend modes, or
| | 03:38 | opacity values applied.
| | 03:39 | So why in the world do we
still have these stroke problems?
| | 03:42 | Well, that's because the red fill is
lightening the strokes behind it and the
| | 03:46 | green fill is lightening the stroke behind it,
| | 03:48 | so we are still in a pickle.
| | 03:50 | The only thing we could do is basically
to copy all three shapes, paste them in
| | 03:54 | front, keep their strokes, throw away
their fills, and then we would have a
| | 03:57 | collection of six shapes that
we would have to keep track of.
| | 04:00 | That's kind of a pain in the neck.
| | 04:02 | Well, it turns out there is a better
solution and guess what that solution is.
| | 04:05 | It's Live Paint inside of Illustrator
and I will be showing you exactly how we
| | 04:09 | work with the Live Paint
feature inside the next exercise.
| | Collapse this transcript |
| Creating interactions with Live Paint| 00:01 | All right. Now let's see how to approach
this diagram using the Live Paint function.
| | 00:05 | Before we begin, I want to make it
clear, I don't mean to imply in any way,
| | 00:09 | shape, or form, that Live Paint takes
the place of blend modes or the wider
| | 00:13 | world of transparency.
| | 00:15 | Transparency remains an exceedingly
viable feature inside of Illustrator CS3.
| | 00:21 | In fact, I would go so far as to call it
a more capable feature than Live Paint.
| | 00:26 | However, Live Paint is another tool
in your arsenal and where this specific
| | 00:31 | illustration is concerned, it's the better tool.
| | 00:33 | So I am working inside of a
document called Colors primaries.ai.
| | 00:37 | Whether you have been working along
with me or you have just joined me, here is
| | 00:39 | what I want you to do.
| | 00:40 | Go ahead and twirl close the Demo #2
layer, if indeed it's twirled open.
| | 00:45 | I want you to take that
layer and throw it in the trash.
| | 00:47 | Let's just get rid of the Demo #2 layer.
| | 00:49 | Then turn on Demo #1, if it's hidden.
| | 00:52 | Now I would like you to press Ctrl+A,
or Command+A on the Mac in order to
| | 00:55 | select all the shapes.
| | 00:57 | Let's go over here to the
Transparency palette and change the blend
| | 01:01 | mode associated with those shapes to Normal,
so that we getting rid of all transparency.
| | 01:07 | If you twirl open Demo #1, you will
see that the red, green, and blue shapes
| | 01:11 | all have hollow meatballs,
| | 01:12 | thereby indicating that there is no
special effects, no transparency, nothing,
| | 01:17 | but static shapes going on here.
| | 01:20 | Leave all three of those shape selected.
| | 01:22 | You need to make sure that they
are all selected here inside the
| | 01:25 | Illustration palette.
| | 01:26 | Then I want you to select this tool
right there, the Live Paint Bucket, which
| | 01:30 | you can get by pressing the K key.
| | 01:32 | Notice that there is two Live Paint features.
| | 01:34 | There is the bucket here and then
there is the Live Paint selection tool.
| | 01:37 | They are right next to each other and
they both have these sort of intersecting
| | 01:40 | rectangles next to them.
| | 01:42 | They used to have little asterisks,
which I think were a little easier to
| | 01:45 | identify, but anyway, now they have got this.
| | 01:47 | So click on the Live Paint Bucket and
notice as soon as you start moving your
| | 01:52 | cursor around, it's talking to you.
| | 01:54 | Illustrator is giving you
instructions for how to use this tool and this is
| | 01:57 | something Illustrator started doing
inside the previous version of the program,
| | 02:01 | inside CS2, it start giving you
these tools that talk back to you.
| | 02:04 | Actually, these date back
farther than that, but it's great.
| | 02:07 | I actually think it's really helpful
because if you forget how to use the tool
| | 02:10 | or if you are new to it, it's
giving you a clue as to what's going on.
| | 02:13 | Inside of Illustrator CS3, you also have
these little swatches that appear above
| | 02:19 | the cursor, if you can make those out.
| | 02:21 | Just so you can get a sense of how
the swatches are organized, click on the
| | 02:25 | Swatches palette in order
to bring it up on screen.
| | 02:27 | You will see the way that I have
organized the swatches, it starts with
| | 02:30 | transparency then goes Red, Yellow,
Green, Cyan, Blue, Magenta, White, and then
| | 02:35 | we go down to the next row, Rich Black, and then we
have got our secondary primaries, if you will, or secondary
| | 02:41 | colors actually, Orange, and then Lime,
Turquoise, Cobalt, Violet, Crimson, and
| | 02:46 | this Registration color
that's just part of the mix.
| | 02:49 | The reason I am pointing these out in
such elaborate detail is because they
| | 02:52 | proceed in exactly the same order in that
tiny little triad that's above the paint bucket.
| | 02:58 | I have sort of pointed this out in the
previous chapter, but now I want to make
| | 03:01 | it exceedingly clear.
| | 03:02 | That's what's going on.
| | 03:03 | So if you want to cycle from one color
in that tiny little triad up there to the
| | 03:08 | next one, you press the arrow keys.
| | 03:10 | So the Right Arrow key will take you
to the next color, which was Yellow, that
| | 03:14 | becomes the central color.
| | 03:15 | So Red is to the left of it
and Green is to the right.
| | 03:18 | Then if we press the Right Arrow key
again, we go to the next color and so on.
| | 03:22 | You will see the colors switch around
here inside the Swatches palette as well.
| | 03:26 | So you are advancing from one color to the next.
| | 03:28 | It would be great if it worked this way all the time, but
it's just strictly a thing that's going on, this ability to cycle
| | 03:34 | through colors in the Swatches palette
is strictly something that's applicable
| | 03:37 | to the Live Bucket tool.
| | 03:40 | So anyway, I am going to go back. I am
going to press the Left Arrow key a few
| | 03:43 | times until I get Yellow, until Yellow
is the central color and thereby that's
| | 03:48 | the active color with which I will paint.
| | 03:50 | I will click on this intersection between
Red and Green in order to fill it will Yellow.
| | 03:56 | Then I will advance to Cyan and click down here.
| | 03:59 | Then I will press the Right Arrow
key a couple of times to advance to
| | 04:02 | Magenta and click here.
| | 04:04 | Then one more press of the Right Arrow
key to advance to White and I will click
| | 04:07 | in the center portion of my shapes.
| | 04:11 | Now you might say, "Gosh!
| | 04:12 | "That's really cool that that works"
and I will show you just how cool it is.
| | 04:16 | I am going to grab my white Arrow
tool, click off the shapes in order to
| | 04:18 | de-select them, and Alt+Click here on
the red circle in order to select it.
| | 04:23 | Now if I move the shape around, this
interaction that I just established with
| | 04:27 | the Live Paint tool remains intact.
| | 04:30 | It's a wonderful, wonderful thing.
| | 04:33 | You can see I went ahead
and undid those movements.
| | 04:35 | You can see that we have
created a Live Paint Group.
| | 04:37 | If I expand the palette a little bit,
so that we can read the entire thing,
| | 04:40 | we have created a Live Paint Group that
includes three shapes and they are not
| | 04:44 | even showing up as filled.
| | 04:45 | They have just established the
parameters into which the colors are poured.
| | 04:50 | Okay, so great, great, great, but
actually in another way, bad, bad, bad because
| | 04:56 | it's kind of worse than it was with
blend modes, because instead of having light
| | 05:00 | strokes, we now have no strokes at all.
| | 05:03 | What do we do about that?
| | 05:04 | Well, we go ahead and fill those
strokes in, as I will show you in the
| | 05:07 | next exercise.
| | Collapse this transcript |
| Stroking with the Live Paint Bucket| 00:01 | In the previous exercise, we were able
to convert these three circles into a
| | 00:05 | Live Paint Object or a Live Paint
Group as it's called here inside the Layers
| | 00:09 | palette, by selecting all three circles
and then clicking inside them with the
| | 00:13 | Live Paint Bucket tool.
| | 00:15 | But in doing so, we lost our strokes.
| | 00:17 | How do we reestablish these strokes that
should appear inside of the overlapping
| | 00:22 | regions of the circles?
| | 00:24 | Well, we still use the paint bucket.
| | 00:26 | It's just that the default setting is messed up.
| | 00:29 | Now if you want to join me I am working
inside of a document called Live Paint diagram.ai.
| | 00:34 | That's found inside the 19_Live_Paint folder.
| | 00:36 | I am now going to switch to the Live
Paint Bucket and notice, by the way, that
| | 00:41 | nothing inside of this illustration
for me, anyway, nothing is selected and
| | 00:46 | you can still work with the Live
Paint Bucket tool when things are not
| | 00:49 | selected inside of an illustration,
so long as you go ahead and set up some
| | 00:53 | live paint objects in advance.
| | 00:54 | If you go clicking inside of an area
that does not include a Live Paint Object
| | 01:00 | like, for example, I will just
click in the background here,
| | 01:02 | then you will get a screen.
| | 01:04 | It's not an alert message.
| | 01:05 | It's a help message,
which is really great I think.
| | 01:08 | It tells you how to use
the feature and it says, Hey!
| | 01:10 | What you are doing doesn't
work, here's how it does work.
| | 01:12 | I think that's awesome.
| | 01:13 | It includes a cartoon fish, which is cool too.
| | 01:16 | So, anyway, I have got the
Live Paint Bucket tool selected.
| | 01:19 | Let's say I very meticulously
hover my cursor over a Stroke,
| | 01:25 | what should be a Stroke
inside of this object, and I click.
| | 01:29 | Well, instead I establish a Fill.
| | 01:32 | So the paint bucket tool, by default,
is set up just to Fill regions of color.
| | 01:36 | So I will undo that
modification. What do you do?
| | 01:39 | Well, you go ahead and double-click
on the Live Paint Bucket tool icon,
| | 01:42 | here inside of the toolbox, which
brings up your Live Paint Bucket Options
| | 01:46 | dialog box, and notice right there we have
got this check box for Cursor Swatch Preview.
| | 01:50 | That's that little thing above the
cursor that shows you which swatch is
| | 01:54 | selected, which swatch you are going to
color with and allows you to switch from
| | 01:57 | one swatch to another,
| | 01:59 | a new feature inside of Illustrator
CS3. If it bugs you for some reason - I
| | 02:02 | don't know why it would - but
if it does, you can turn it off.
| | 02:06 | Notice, though, that this tool is setup
to Paint Fills but not Paint Strokes.
| | 02:09 | So go ahead and turn on Paint Strokes in order
to make that check box active and then click OK.
| | 02:15 | And now you can Paint Stroke as well.
| | 02:17 | So notice your cursor changes when you
move over an area that should be stroked,
| | 02:21 | you see a little Brush tool instead
and you can click in order to stroke
| | 02:25 | that region with a line.
| | 02:26 | Now in my case, it has stroked
it with a very, very thin line.
| | 02:30 | Let's go ahead and establish a
thicker line by changing the Stroke value to
| | 02:34 | 12 points, like so.
| | 02:36 | Let's also go ahead and change the
Stroke to one of the swatches inside of
| | 02:41 | the Swatches palette.
| | 02:42 | I will click on the Stroke icon here,
at the bottom of the toolbox and then I
| | 02:46 | will go back to the Swatches palette
and click on this rich, black swatch in
| | 02:50 | order to make it the active swatch, in
order to make that swatch active for the stroke.
| | 02:54 | Now, notice if I hover over this region
that I see more than just the one black
| | 03:00 | box above the icon. I see three
different boxes that's showing me that I am
| | 03:05 | working with the Swatches palette.
| | 03:07 | So go ahead and click in order to
establish that thick stroke and you can
| | 03:10 | click over here in order to establish the
thick stroke as well, here if you want to and here.
| | 03:15 | We have got a few others that we
need to do, but I want to pass along a
| | 03:19 | little of bit of a trick.
| | 03:21 | Go ahead and double-click on the Live
Paint Bucket tool in order to bring up
| | 03:24 | this dialog box, turn off
Paint Strokes and then click OK.
| | 03:29 | Now the nice thing here is that you
are never going to accidentally stroke a
| | 03:33 | path unless you absolutely want to
because I have turned the feature off.
| | 03:37 | You have to, in order to stroke a path,
| | 03:39 | you have to press and hold the Shift
key and when the Shift key is down,
| | 03:43 | you switch to your brush variation right there.
| | 03:45 | You switch to your stroke tool.
| | 03:47 | And it's going to have a little tiny X
next to it. I don't know if you can read
| | 03:50 | it on the video but on your screen you
should be able to read that there is a
| | 03:53 | little tiny X next to it, that's
showing you that you can't stroke this region
| | 03:58 | of your Live Paint Object.
| | 03:59 | But as soon as you move it over a
region that's good, you can stroke it.
| | 04:02 | So I have got the Shift key down the
entire time. I am clicking to establish the
| | 04:07 | thicker strokes in the
intersecting regions of my shapes.
| | 04:12 | And so that's what I end up coming up with.
| | 04:13 | That's how you stroke shapes,
using the Live Paint Bucket tool.
| | 04:16 | One other thing that I want to pass
along about these Live Paint Bucket
| | 04:20 | Options. Go ahead and double-click once
again on that Live Paint Bucket tool to
| | 04:24 | bring up the dialog box.
| | 04:25 | Notice the Highlight color down here.
Yours is going to be, if you are looking
| | 04:30 | at your default setting, yours is going
to be Red, and a width of 4 point, like
| | 04:34 | so and then click OK.
| | 04:36 | And notice, now, when you move your
cursor around, you get these big, thick, huge
| | 04:40 | outlines that are showing you which
region you are going to be filling or
| | 04:45 | stroking or what have you.
| | 04:46 | And I just don't like that it takes up
this much room and also you can see red
| | 04:51 | on red. It doesn't work too terribly
well inside of this particular diagram.
| | 04:55 | So what I decided to do was set my
Highlights to Green because there is no
| | 05:01 | bright green inside of this diagram, this
is the CMYK Green that we are seeing here,
| | 05:05 | and 1 point width. I think 1 point
is plenty thick enough in order to see
| | 05:09 | what's going on, then I click OK.
| | 05:11 | All right, so I just want to make sure
you understand why what you are seeing
| | 05:15 | in the video might not match
what you are seeing on your screen.
| | 05:18 | All right, so there you have it, we
have now learned how you establish Fills
| | 05:22 | using the Live Paint Bucket tool and
how you establish Strokes using the tool.
| | 05:26 | In the next exercise, we are
going to take a look at the Live Paint
| | 05:29 | Selection tool.
| | Collapse this transcript |
| Using the Live Paint Selection tool| 00:01 | All right, so far we have managed
to use the Live Paint Bucket tool to
| | 00:04 | establishe a Live Paint Object and to
assign Fill and Stroke attributes to the
| | 00:09 | various intersecting areas of the shapes.
| | 00:12 | And everything remains completely
dynamic, of course. I am working inside of a
| | 00:16 | catch up document called Fills & strokes.
ay. That's available to you inside of the
| | 00:20 | 19 Live Paint folder.
| | 00:22 | I am going to go ahead twirl open the
Demo #1 layer and twirl open the Live
| | 00:26 | Group Object as well so that we can see
these various shapes that are contained
| | 00:32 | inside the Live Paint Group.
| | 00:33 | I am going to click on red in order
to make it active and then if I drag it
| | 00:36 | around, you can see that the
strokes are updating on the fly.
| | 00:40 | So it's amazing that it's capable of doing this.
| | 00:43 | However, your amazement might
be mitigated at certain times.
| | 00:47 | I am going to go ahead and move this
object over to the far side and then I am
| | 00:52 | going to zoom in on this
little patch right there.
| | 00:55 | And we can see how the strokes aren't
meeting up with each other in exactly the
| | 01:00 | way that we would like.
| | 01:01 | Basically, what Illustrator is doing if
I press Ctrl+Y, or Command+Y on the Mac,
| | 01:05 | it's saying that the stroke, this
little stroke segment, ends right at this
| | 01:09 | location and then it's
drawing a cap off of that location.
| | 01:13 | Then if I press Ctrl+Y, or Command+Y to
re-enter the Preview mode, you can see
| | 01:17 | that the cap extends
outside of the stroked edge.
| | 01:21 | So we definitely have a problem here.
| | 01:23 | How do we go about solving it?
| | 01:24 | Well, I am going to press Ctrl+1, or Command+1
on the Mac to return to the 100% View mode.
| | 01:29 | We can't entirely solve the problem
but we could go ahead and reverse the way
| | 01:33 | that we have these strokes organized.
| | 01:35 | I'm going to go ahead and undo the movement
of the shape here. For example, instead
| | 01:39 | of having the thin strokes on the
outside and the thick strokes on the inside,
| | 01:44 | we could reverse it,
| | 01:45 | and have the thins on the
inside and the thicks on the outside.
| | 01:48 | How do we go about doing that?
| | 01:49 | Well, for starters, press Ctrl+A, or
Command+A on the Mac to select all of the
| | 01:54 | shapes in this group and then let's
go up to the Stroke Option here in the
| | 01:58 | Control palette and change the Stroke
weight to 6 points and then press the
| | 02:02 | Enter or Return key.
| | 02:04 | Now I need to select just the outside
segments and certainly I could do that, I
| | 02:09 | could re-stroke those segments using
the Live Paint Bucket tool right here.
| | 02:12 | But instead, I want to select them and
apply my Attributes that way and I am
| | 02:17 | going to do that by using the Live
Paint Selection tool, the other sort of
| | 02:21 | partner in crime here where live
painting is concerned inside Illustrator.
| | 02:25 | Now I am going to click on this stroke
in order to select it, and notice how I am
| | 02:30 | selecting this stroke independently of
the other attributes inside of the shape.
| | 02:34 | Now that doesn't mean I can move it.
| | 02:36 | Notice if I try to drag it, it does not
move. Check that out. Instead, I just end
| | 02:41 | up selecting the items.
| | 02:42 | So you can either select the Stroke,
as I just did a moment ago, or you can
| | 02:45 | select the Fill or you can select both Fill
and Stroke by marqueeing over them like that.
| | 02:52 | And in any case, whatever you decide to
do you can now modify those attributes.
| | 02:56 | Like, let's say I decide to
change both Fill and Stroke to Orange.
| | 03:00 | Now I just affected the fill and not
the stroke because the fill attribute is
| | 03:03 | active here inside the toolbox.
| | 03:05 | If the stroke attribute was active, I
would have modified the color that's
| | 03:10 | associated with that stroke as well,
as you can see, because both fill and
| | 03:14 | stroke are active in this case.
| | 03:16 | All right. I will go ahead and undo those
couple of modifications there, and I am
| | 03:21 | going to click on this stroke area,
then Shift+Click on this stroke area and
| | 03:25 | then Shift+Click on this outside stroke
and then we will take the Line Weight up
| | 03:29 | to say 12 point, so that we are
reversing the way that the Line Weights used to
| | 03:34 | be organized and then press the Return
key in order to accept that modification.
| | 03:38 | Now we have the thicks on the
outside and the thins on the inside.
| | 03:42 | Notice, by the way, that I am getting
those thick red globs here to show me
| | 03:46 | exactly which portion of the
illustration I am going to select.
| | 03:49 | I don't like that. As I was saying, I
don't really like that sort of thick, gooey
| | 03:53 | behavior out of Illustrator.
| | 03:55 | I don't need that much of a
warning as to what's going on, so I will
| | 03:57 | double-click on the Live Paint
Selection tool to bring up the Selection
| | 04:02 | Options dialog box.
| | 04:03 | I will change the color to Green, once
again, just as I did with the Live Paint
| | 04:07 | Bucket tool and I will change the weight to 1.
| | 04:10 | Again, you have the option of
selecting just the fills or just the strokes or
| | 04:13 | whatever you want to do.
| | 04:14 | All right, I will go ahead and click
OK in order to accept that modification.
| | 04:17 | Now this doesn't completely, totally
solve that problem where we get weird
| | 04:22 | intersections from the strokes but it
makes it a heck a lot better, as it turns out.
| | 04:25 | If I now grab my White Arrow tool
and I will go ahead and Alt+Click or
| | 04:30 | Option+Click on that red shape to
select it, we can see that we are running
| | 04:33 | into fewer problems.
| | 04:35 | Now if we do make a big gargantuan
change, we can see a break on the inside of
| | 04:40 | the shape this time
around, see that right there.
| | 04:42 | And so we will still run into these
problems every once in a while, but they are
| | 04:46 | better when the strokes are
organized in this fashion.
| | 04:49 | Something else to note, by the way, for
those of you who are sort of thinking a
| | 04:52 | few steps ahead, and I just mention
this to you, you cannot apply live effects
| | 04:57 | to specific attributes
inside of a Live Paint Object.
| | 05:00 | For example, if I go and get my Live
Paint Selection tool again and I select
| | 05:05 | this top stroke right there,
this little top half of the stroke,
| | 05:08 | I cannot apply a live effect. None of
these effects are active for me now.
| | 05:12 | I can apply a live effect to the
entire live paint object, if I want to, as we
| | 05:16 | will in a future exercise, but
just not to a specific attribute.
| | 05:19 | And also, if you go to the Appearance
palette, you cannot move your attributes
| | 05:24 | around even though it pretends you can
but then it just ignores you and also you
| | 05:28 | can't make new attributes.
| | 05:29 | For example, I couldn't grab the stroke.
I can drag it onto the new icon, but
| | 05:33 | it's not going to do anything.
| | 05:35 | So you can't add attributes at this point.
| | 05:38 | That's how you use the Live Paint
Selection tool inside of Illustrator.
| | 05:42 | In the next exercise, I am going to
show you how to add lines, to add borders
| | 05:46 | and so on, inside of an
existing Live Paint Group.
| | Collapse this transcript |
| Adding a path to a Live Paint group| 00:01 | In this exercise, I am going to show you
how you can add a path to a Live Paint Object.
| | 00:05 | I am working inside of a document now,
called Thick stroke out.ai, inside the
| | 00:11 | 19_Live_Paint folder, so called because
the thicker stroke is on the outside of
| | 00:16 | the paths and the thinner
stroke is on the inside.
| | 00:19 | Let's say that I want to create a
line that bisects this green circle right
| | 00:23 | here, and if you press Ctrl+A, or Command+A
on the Mac to see all of the segments
| | 00:28 | and the Anchor points, you can see
that the Anchor points are rotated with
| | 00:32 | respect to each other.
| | 00:33 | Basically, what I did was I created
the red circle first, and that's why it's
| | 00:38 | Anchor points are upright, they are at
perpendicular locations there, but then I
| | 00:42 | rotated the red circle in
order to create the green circle.
| | 00:46 | I rotated it 120 degrees, and that's why its
Anchor points are offset, as you can see here.
| | 00:53 | So there is an Anchor point there, and
there, and down here, and over here as well.
| | 00:58 | And the great thing about this is we can
draw a path from this anchor point down
| | 01:02 | to this anchor point, and ensure
an absolute exact bisection of this
| | 01:07 | intersection of the two shapes right there.
| | 01:09 | So I am just going to go ahead and click
off of these paths in order to deselect them.
| | 01:14 | And I am going to turn on this really
great alignment feature inside of Illustrator.
| | 01:19 | A lot of people don't like it,
I happen to absolutely love it.
| | 01:23 | It's called Smart Guides.
| | 01:25 | It's under the View menu, and what you
really want to know about Smart Guides
| | 01:28 | more than anything else is how to
turn it off and on from the keyboard.
| | 01:31 | You can press Ctrl+U, or Command+U on the Mac.
| | 01:33 | That will turn it on and off and the
reason that you want to know that is
| | 01:37 | because as soon as you invoke Smart
Guides, as I just did by choosing that
| | 01:41 | command, you start getting all this
feedback and basically every single object
| | 01:46 | inside of your illustration is
going to start lighting up on you.
| | 01:49 | Now that's okay where a simple graphic
like this is concerned, but if you have a
| | 01:53 | really complex graphic, you are going
to see things lighting up all over the
| | 01:56 | place and the feature has a
tendency to really get in your face.
| | 02:00 | That's why you need to know how to turn it off.
| | 02:02 | So you just want to turn it on for a brief
periods of time, turn it off when you don't need it.
| | 02:05 | Here is the great thing about it.
| | 02:07 | It turns everything in your
illustration into a snapping guide, without you
| | 02:11 | having to convert it into a guideline.
| | 02:14 | So, check this out. I am going to grab the
Line Segment tool, a very simple tool. Of course,
| | 02:18 | just draw a line bisecting this green
shape, but I want to make sure that I am
| | 02:22 | aligning to the anchor points that
already exist inside of this shape.
| | 02:26 | So, I am going to move along the path
outline here, I am just moving my cursor
| | 02:31 | along until I happen to hit the Anchor point.
| | 02:33 | There it is, right there.
| | 02:34 | And now, I will drag from that anchor
point, I am not doing anything to it, I am
| | 02:38 | just using it as an alignment point,
until I hit the path outline over this
| | 02:42 | location, and there is it's
anchor point, and I can release.
| | 02:45 | And now, I have ensured that I have an
absolute bisection inside of this illustration.
| | 02:50 | Isn't that awesome?
| | 02:51 | Now, I am done with the feature, so I
will press Ctrl+U, or Command+U on the Mac
| | 02:54 | to turn it off, so we
don't have anymore flashing.
| | 02:57 | Now let's go ahead and integrate
this line into the Live Paint Object.
| | 03:02 | I will select everything by
pressing Ctrl+A, or Command+A on the Mac.
| | 03:05 | So what I am doing is I am employing
the reasoning that got us a Live Paint
| | 03:09 | Object in the first place.
| | 03:10 | I am going to go ahead and select
everything, then I will go down here and grab
| | 03:13 | the Live Paint Bucket and then I
will switch to a different color.
| | 03:17 | For example, let's just go ahead and
click on Orange inside the Swatches
| | 03:20 | palette, and then I will click in this
region, right there, in order to fill it
| | 03:24 | with orange. And I get a warning,
and basically, it's telling me this is
| | 03:28 | actually an error message
| | 03:29 | that's telling me, you know what? I bet what
you to do is you want to merge those paths.
| | 03:33 | You think this guy right here, that
new line you drew, is going to be part of
| | 03:36 | the Live Paint group. It isn't.
| | 03:38 | That isn't the way it works.
| | 03:39 | What you can do is select Merge, if
you want to from Live Paint menu, or from
| | 03:43 | the Control palette, as it turns out.
| | 03:45 | All right, fine, go ahead and click
OK, and notice now that it went ahead
| | 03:48 | and filled this entire area here with
orange because this guy is not part of
| | 03:53 | the Live Paint Group.
| | 03:54 | Now I could merge them together.
| | 03:55 | Now that I have made this mistake.
| | 03:57 | Actually, let's go ahead and undo that
modification first by pressing Ctrl+Z or
| | 04:00 | Command+Z on the Mac.
| | 04:01 | I could merge them together by
clicking on this Merge Live Paint button
| | 04:05 | right there, and that will bring the
path into, the path being the new line
| | 04:10 | I just drew, into the Live Paint group, or
you could just work inside the Layers palette.
| | 04:14 | I will go ahead and undo that modification.
| | 04:16 | You can just grab the path that you
just drew, and just drag it into the Live
| | 04:20 | Paint group as well, same diff.
| | 04:22 | It's exactly the same thing.
| | 04:24 | Now, if you click at this location
with Orange, you are going to color that
| | 04:27 | intersecting area, orange, and if I
advance to this color right there, that
| | 04:31 | violet, and click inside this
region, it gets filled as well.
| | 04:34 | And of course, everything
is absolutely, totally live.
| | 04:38 | I will go ahead and grab
my direct Selection tool.
| | 04:40 | I will Alt+Drag, or Option+Drag around
this region here, in order to just select
| | 04:44 | a circle, and the line, the line segment
right there, and then I will move those
| | 04:49 | items to a different location, and
everything updates on the fly accordingly.
| | 04:53 | Now what happens, I want to show you this one
too, just in case you run into this circumstances,
| | 04:57 | I will press Ctrl+Z, a couple
of times, Command+Z on the Mac.
| | 05:01 | What if you just grab the circle and start
dragging it independently of the line segment?
| | 05:06 | Well, then the paint overflows
out of this area into this area.
| | 05:10 | The new color wins, so orange wins over
green, and you end up creating an overflow.
| | 05:15 | And even, if you are careful to put it
back like that, you still have the old
| | 05:19 | colors in place. You would then need
to reestablish the color, or, of course,
| | 05:23 | just Ctrl+Z, Ctrl+Z a couple of times in a row.
| | 05:25 | Command+Z, Command+Z on the Mac in
order to reestablish your good colors inside
| | 05:31 | of this Live Paint Object.
| | 05:33 | In the next exercise, we are going to
see how you can draw inside of a Live
| | 05:38 | Paint Object on the fly.
| | Collapse this transcript |
| Drawing inside a Live Paint group| 00:00 | All right, this time around, rather
than creating a path and moving it into the
| | 00:05 | Live Paint Group, let's just go ahead
and draw inside of our Live Paint Group
| | 00:09 | in the first place. How do we do that?
| | 00:11 | Well, it turns out we have to enter the
Group Isolation mode, and I touched on
| | 00:14 | this way back in a previous exercise,
ever so briefly, but the topic is well
| | 00:19 | worth revisiting where Live
Paint Groups are concerned.
| | 00:22 | So make sure that you have
something resembling what you see on screen,
| | 00:26 | opened on your screen.
| | 00:27 | If you don't, you can open this
document called bisecting_line.ai that's found
| | 00:31 | inside the 19 Live Paint folder.
| | 00:34 | Then I want you to go ahead and grab
your Line tool, for example.
| | 00:38 | We are going to draw a couple of more lines that
bisect the other circles because we don't
| | 00:43 | want them to feel left out, and what
you might think you could do because this
| | 00:47 | would work inside of a lot of objects
inside of Illustrator, inside of Standard
| | 00:51 | Groups, and inside of Sub-layers, and so on,
| | 00:53 | is you just go ahead and meatball the
item on top of which, in front of which,
| | 00:58 | you want to draw the new path.
| | 00:59 | So in my case, I went ahead and
meatballed the green circle right here, and now,
| | 01:04 | I would just start in drawing. The problem is,
notice that the meatball didn't really take.
| | 01:08 | Notice I don't have a heavy
outline around that target circle there.
| | 01:12 | Instead, the heavy outline appears
around the target circle that's associated
| | 01:15 | with the Live Paint Group.
| | 01:17 | Illustrator is telling me that this
item is selected, but it's the Live Paint
| | 01:20 | Group that's targeted.
| | 01:21 | So if I draw a new line, and I will just
draw a hack line here, notice where it appears.
| | 01:26 | It appears outside the Live
Paint Group. So what do you do?
| | 01:28 | All right, I will show you.
| | 01:30 | Go ahead and grab your Black Arrow tool,
and click on anyone of the paths in
| | 01:34 | order to select the entire Live Paint Group.
| | 01:36 | You can also meatball the group if you
want to, here inside the Layers palette.
| | 01:39 | Then you will see, this guy right there,
Isolate selected group, this button
| | 01:43 | here inside the Control palette. Go
ahead and click on it in order to enter
| | 01:47 | the Isolation mode.
| | 01:48 | Or another thing you could do is
using the Black Arrow tool, you can
| | 01:51 | double-click on any one of these paths,
in order to enter that Isolate mode, and
| | 01:57 | you can tell you are in that mode
because you have a Dark Gray Bar across the
| | 02:00 | top of your illustration window and
you even see this words Live Paint Group
| | 02:04 | along with an Escape arrow, so
that you can escape out if you want to.
| | 02:08 | Now anything we draw is going to go
inside of this group, and I am going to go
| | 02:12 | ahead and grab my Line Segment tool
| | 02:13 | once again. I am going to press Ctr+U,
or Command+U in order to invoke the
| | 02:18 | Smart Guides, and I will move my
cursor along here until I find the Anchor
| | 02:22 | point. There it is. And I will drag from one
anchor point to the other, so there is one line.
| | 02:27 | It comes in very tiny, actually,
that's fine, and then I will drag from this
| | 02:30 | anchor point to this anchor point in order to
add a couple of lines to this Live Paint Group.
| | 02:37 | Now the lines come in kind of weird.
They are, for me, anyway. They may come in
| | 02:41 | differently for you.
| | 02:42 | Mine are coming in very thin and they
aren't stroked properly, they aren't
| | 02:45 | stroked with the rich black. Instead
they are stroked with the plain black.
| | 02:49 | So I suppose I could go get my
Live paint Bucket tool and start
| | 02:53 | Shift+Clicking on these various
pieces in order to fill them, like so, or in
| | 02:57 | order to stroke them, that is, but if
I do that, notice I am just going to do
| | 03:00 | one little line segment at a time,
| | 03:03 | sometimes Live Paint isn't the best way to go.
| | 03:06 | In other words, sometimes you are better
off just using the standard White Arrow tool.
| | 03:09 | Let's go ahead and make sure that we have
all three of these bisecting paths selected.
| | 03:14 | So I am going to go ahead and Alt+Click
on one, or Option+Click on one on the
| | 03:18 | Mac, and then Shift+Alt+Click, or Shift+
Option+Click on the other two in order to
| | 03:23 | select all three of them.
| | 03:24 | I suppose it's also possible that I
could just Alt+Drag around this area right
| | 03:28 | there or Option+Drag around that area,
in order to select all three of them.
| | 03:32 | That works as well. And now let's just apply
the Stroke Attributes that we want to work with.
| | 03:36 | I will go down here to the bottom of
my toolbox and make sure that the Stroke
| | 03:41 | Attribute is active, then I will return to
my Swatches palette. Make those lines white,
| | 03:46 | actually, is the way that I want them to work.
| | 03:48 | Let's change the Stroke Weight to six points,
and they are all in front of the other paths.
| | 03:53 | I want to move them to back, so I am
going to press Ctr+Shift+Left Bracket,
| | 03:57 | Command+Shift+Left Bracket on the Mac,
the keyboard shortcut that sends things
| | 04:00 | to the back of the stack and in this case,
it sends them to the back of the Live
| | 04:04 | Paint Group, not only because we are
working inside the Isolation mode but also
| | 04:08 | because we are working in
a group in the first place.
| | 04:10 | Now let's say we want to get out.
| | 04:11 | We are done working inside the Isolation mode.
| | 04:13 | We want to go back out to
normal civilization here.
| | 04:16 | One way is to click this little green arrow
in the upper left hand corner of the window.
| | 04:21 | That will exit the Isolated group.
| | 04:23 | You can also click on this button, here
inside the Control palette, to exit the
| | 04:28 | group, and then finally the easiest way
to work, grab your Black Arrow tool and
| | 04:31 | double-click outside of the Live Paint
Group in order to exit it. There it is.
| | 04:37 | In the next exercise, we are going to
apply a few more Fill Attributes to our
| | 04:43 | diagram here, our increasingly more
complicated diagram, and we are going to
| | 04:47 | apply a couple of Live Effects.
| | 04:49 | Stay tuned.
| | Collapse this transcript |
| Combining Live Paint with a Live Effect| 00:00 | Now that we have assembled the core
components of this color diagram, let's have
| | 00:04 | a little bit of fun with it.
| | 00:05 | Now you may notice that the color scheme
that I have on screen is different from
| | 00:10 | the one we left off with
in the previous exercise.
| | 00:13 | I went ahead and updated a few of the
sub-paths here by assigning some of the
| | 00:17 | secondary colors that appear in the
second row here inside the Swatches palette.
| | 00:21 | You can do so as well, if you like it.
| | 00:23 | It's just a little bit tedious,
I think, to watch me do it.
| | 00:25 | If you just want to open the
document that I made, it's called New color
| | 00:29 | scheme.ai and it's found
inside of the 19 Live Paint folder.
| | 00:34 | Now, I do want to re-color a couple of things.
| | 00:37 | Basically, instead of having this
area right here, cyan, between cobalt and
| | 00:42 | turquoise, I want to switch it
to its complementary color, red.
| | 00:47 | That's going to involve the Eyedropper.
| | 00:49 | I just want to see how you can use
the Eyedropper along with the Live Paint
| | 00:52 | Bucket, so I am going to
grab the Live Paint Bucket here.
| | 00:56 | Then I am going to press the Alt key,
or the Option key on the Mac in order to
| | 01:00 | grab the Eyedropper on the fly, and
click in order to lift this red from this
| | 01:06 | little triangle right there.
| | 01:08 | Then I will click in this area
without having the Alt or Option key down in
| | 01:12 | order to assign red to this
region of my illustration.
| | 01:15 | Then I am going to Alt+Click, or Option+
Click in green and click to lay it down,
| | 01:20 | and Alt+Click, or Option+Click
in blue and click to lay it down.
| | 01:23 | So just so that you know, you have
got that Eyedropper at your disposal.
| | 01:26 | Yet another way to grab colors here, when
working with the Live Paint Bucket tool.
| | 01:32 | Now that I have gotten the color
scheme the way that I want it, I am going to
| | 01:35 | grab my black Arrow tool.
| | 01:37 | I am going to click on one of the
path outlines here in order to select it.
| | 01:41 | Then I am going to apply a live affect
by going to the Effect menu and the live
| | 01:46 | effect that I am going to apply is
under the Path sub-menu, Offset Path.
| | 01:50 | Go ahead and choose that command.
| | 01:52 | Let's move the dialog box off a little
bit, so we can see what we are doing.
| | 01:55 | Turn-on the Preview check-box, so that you
can see the results of your 10 point Offset.
| | 02:01 | Actually, to my mind, that's not enough.
| | 02:03 | I am going to go ahead and take this value up.
| | 02:05 | I am pressing Shift+Up Arrow, until I
advance to an Offset value of 30 points,
| | 02:10 | as we are seeing right here.
| | 02:12 | It really sort of tears apart
this graphic, and offsets the fills.
| | 02:16 | As you can see, this green fill takes up
this entire area, but the blue fill only
| | 02:21 | takes this area, whereas
orange extends into this rung.
| | 02:25 | Isn't that strange?
| | 02:26 | Turquoise extends into this rung,
thereby cutting into red's department.
| | 02:30 | I think this is wild, the stuff
that Live Paint and the Live Effect are
| | 02:34 | doing in combination with each other.
| | 02:35 | I will go ahead and click OK in
order to accept that modification.
| | 02:38 | Now you can get more
carried away, if you want to.
| | 02:40 | You can go ahead and apply some more
live effects, experiment to your heart's
| | 02:44 | content but here is what I am
a little more concerned about.
| | 02:47 | Notice that if I go ahead and zoom in on this
location right here, notice that I have a
| | 02:53 | little bit of a gap at this
corner, where a corner should be.
| | 02:56 | I want to solve that problem.
| | 02:58 | So, I am going to press Ctrl+1 or Command+1
to go back to my 100% view mode, and
| | 03:03 | I am going to grab that Live
Paint Selection tool there.
| | 03:06 | Let's go ahead and de-select
everything by pressing Ctrl+Shift+A, or
| | 03:09 | Command+Shift+A on the Mac.
| | 03:11 | Notice that this is truly a live
effect even from Live Paint's vantage point.
| | 03:17 | That is to say that the paths are not
where they look like they are on screen.
| | 03:22 | Instead, they are back at their
original location, even though they are
| | 03:26 | sub-divided into artificial on-the-fly paths.
| | 03:29 | I am going to go ahead and click here
in order to select this little bit of a
| | 03:32 | stroke and then Shift+Click over
here, Shift+Click here, and here.
| | 03:37 | Oops, I grabbed a fill that time.
Shift+Click again to de-select that.
| | 03:40 | Shift+Click on the strokes only, so
just grab those strokes that go around
| | 03:44 | the shape, like so.
| | 03:45 | So you should grab all six of
these sub-strokes right there.
| | 03:51 | Then I am going to go ahead and
round off this cap right there.
| | 03:55 | Let's go ahead and zoom in on it
again, so we can see what's happening.
| | 03:58 | By expanding my Stroke palette and assigning, this
time around, I am going to assign a Round Join.
| | 04:04 | Now round joins don't normally do what
you think they are going to do inside of
| | 04:08 | Live Paint objects, but when we are
working with this particular live effect, it
| | 04:12 | does do what you think it would do, that is,
it rounds off that corner. Isn't that nice?
| | 04:18 | All right, anyway.
| | 04:20 | You just unexpected results is
basically what it comes down to.
| | 04:23 | For example, I am going to switch to
my White Arrow tool, so that I can show
| | 04:27 | you something here.
| | 04:28 | Notice this X that just appears at
the intersection of these three wide
| | 04:33 | rectangles coming together.
| | 04:34 | Why does the X appear here?
| | 04:36 | You could tell me, well, it's this
rectangle right there, and then, there is a
| | 04:40 | rectangle right there.
| | 04:41 | If that's the case, why isn't there
rectangle coming down this way as well.
| | 04:45 | There is some weird art effect of
all this stuffs coming together.
| | 04:49 | Well, I will show you.
| | 04:49 | It gets even weirder, and I think it's
fun to play around with these shapes.
| | 04:53 | Now you might think, "Good
golly, Deke! Give it up."
| | 04:57 | This is the kind of stuff that I
think is really, actually very exciting.
| | 05:00 | So, I am going to switch back to my Live
Paint Selection tool, and I am going to
| | 05:04 | go ahead and click at this location.
| | 05:06 | Then Shift+Click here, and then Shift+Click
here in order to select these three
| | 05:11 | sub-paths but oops, I got that wrong.
| | 05:13 | I got to Shift+Click away from those fills.
| | 05:15 | All right, so you should see sort
of a upside down Mercedes emblem,
| | 05:19 | essentially, of paths.
| | 05:20 | I am going to go ahead and
replace those strokes with black.
| | 05:25 | So, I am going to bring up my stroke
right there, and go to the Swatches palette
| | 05:30 | and switch it out for black.
| | 05:32 | Notice what happens.
| | 05:33 | I went ahead and stroked around these
regions right here, and I kind of got rid
| | 05:37 | of the white strokes that I had before.
| | 05:40 | So kind of interesting
some of the stuff you can do.
| | 05:42 | Look, check out, there is these guys
right there as well that are farther out
| | 05:46 | and you could stroke them with some
other color, if you want to try that, such
| | 05:49 | as orange, in my case.
| | 05:51 | Just to give you a sense of the things
you can do, why don't we try out gray?
| | 05:54 | Actually, because gray is not
the color that we have used before.
| | 05:56 | So you can have a lot of fun.
| | 05:57 | If this is your idea of fun and I must
admit, it kind of is mine, sick fun.
| | 06:03 | If you want to have some sick fun inside
of a document, this is the way to have it.
| | 06:06 | So, we have seen how to use the
Eyedropper tool along with the Live Paint
| | 06:09 | Bucket, a very practical trick.
| | 06:10 | We have also seen what can happen to
a Live Paint object when we apply a
| | 06:14 | live effect to it.
| | Collapse this transcript |
| Coloring traced line art| 00:00 | Now let's take a look at a more
real world live painting scenario.
| | 00:04 | We are going to take this scan that we
see in front of us right now and we are
| | 00:07 | going to colorize it.
| | 00:08 | So basically, we are going to convert a
Live Trace object over to a Live Paint
| | 00:12 | object, assign colors to it.
| | 00:14 | This is going to take us into such
realms as Automatic Gap Detection, which is a
| | 00:18 | really great feature of Live Paint.
| | 00:21 | We are also going to fill in some gaps
manually, which is not nearly so fun or
| | 00:25 | so cool but something you have to do.
| | 00:27 | Fortunately, I have done
most of the work for you.
| | 00:30 | That's some good news and then
finally we will be able to select and edit
| | 00:33 | multiple filled regions at a time,
another super duper function of Live Paint.
| | 00:38 | So, I am working inside of a
document called Treetrio.ai.
| | 00:42 | That's found inside the 19 Live Paint
folder, and this is a live trace object.
| | 00:49 | If you were to go ahead and click on
the outline or just go ahead and twirl
| | 00:52 | open the image layer, you will find the
tracing object right there that you can meatball.
| | 00:56 | And you will see that it is indeed a
Live Trace of a sketch created by a buddy
| | 01:01 | of mine named James Dean Conklin and
then I went ahead and traced it and if you
| | 01:06 | want to see what the tracing settings
are, you can go ahead and click on this
| | 01:08 | Tracing Options dialog button right
there and you will see that it's a black
| | 01:12 | and white trace, Threshold is set to
170 in order to thicken up the lines a
| | 01:15 | little bit, Blur is zero.
| | 01:17 | I left the Resolution at 300 pixels/inch.
| | 01:20 | So I was working from a high resolution image.
| | 01:23 | Path Fitting is at 2, so pretty tight
and all these other options are defaults
| | 01:28 | actually, Minimum Area of
10 and Corner Angle of 20.
| | 01:30 | So, that's all right.
| | 01:31 | It ended up generating 7000 anchor
points, 537 paths, 303 areas, that is,
| | 01:38 | overlapping areas of paths, and just
two colors, of course, black and white.
| | 01:42 | Now we could ignore white.
| | 01:43 | I could go ahead and get
rid of the white region.
| | 01:45 | But you know, when you are doing the
live painting, you want to go ahead and
| | 01:49 | leave that white in there.
| | 01:50 | But when you are going to convert the
Trace Object over to a Live Paint, you
| | 01:54 | want to leave the white in there.
| | 01:56 | The reason being it will help you
define the edges of your artwork, so don't
| | 02:01 | turn Ignore White on.
| | 02:02 | In fact don't do anything.
| | 02:03 | Just take a look at the settings
and then cancel out because we have
| | 02:06 | already done that work.
| | 02:07 | Now let's go ahead and convert
it over to a Live Paint object.
| | 02:11 | Go ahead and click on the Live Paint
button here inside the Control palette.
| | 02:16 | And a few moments later you will see
a ton of anchor points on your screen
| | 02:21 | that indicate the outlines of these various
objects inside of your new Live Paint group.
| | 02:27 | And if you want to twirl open that Live
Paint Group, you will say that it's made
| | 02:30 | of just hundreds of objects now, which
are all grouped together of course, so
| | 02:35 | that you can fill them.
| | 02:36 | All right. Let's go ahead and twirl this
very complicated object close. We don't
| | 02:40 | want to really get in there and
look at all the pieces, I don't think.
| | 02:44 | Now go ahead and press Ctrl+H, or
Command+H on the Mac in order to hide
| | 02:48 | those selection edges and then zoom
in on the illustration a little, at
| | 02:51 | least I am going to.
| | 02:53 | Grab your Paint Bucket, your Live Paint
Bucket, and then go ahead and select the
| | 02:57 | fill color that you want to use.
| | 02:59 | I'd suggest, for now, that we just
right arrow over to the sky blue fill.
| | 03:04 | I have gone ahead and included
some swatches for you in advance here.
| | 03:07 | So we will start with sky and then
just click in the sky regions in order
| | 03:11 | to begin filling them.
| | 03:12 | Now, it takes a little bit of time in
order to fill all these regions inside of
| | 03:17 | the tree limbs. There is an
awful lot of stuff going on.
| | 03:20 | Now, you may find, at a point, that you go
and fill something you shouldn't have filled.
| | 03:24 | For example, I just did.
| | 03:25 | I will go ahead and zoom in on this region.
| | 03:27 | So we can see what I am talking about.
| | 03:28 | This is actually a tree limb, going up through
this area, and I just filled it with sky color.
| | 03:34 | What do I do?
| | 03:35 | How do I undo this
modification that I have made?
| | 03:38 | Particularly if I kind of move forward
and I make a few other modifications and
| | 03:42 | I am feeling progressively more and
more loathed to go back and just sort of undo
| | 03:47 | that modification because I have made
so many good edits and there are an awful
| | 03:52 | lot of clicks involved, are there not? Oops!
| | 03:54 | I just made a big mistake there.
| | 03:55 | I will just go ahead and undo that one.
| | 03:57 | But these areas are
actually filling out just fine.
| | 04:00 | So how do I go back and take care
of that problem limb right there?
| | 04:04 | Well, just go ahead and press the Slash
key in order to select the Transparent
| | 04:09 | Swatch inside the Swatches palette and then
click in that area with a Fill Color of none.
| | 04:15 | That will go ahead and get rid of the
fill that you assigned to this region, and
| | 04:18 | actually this area and this area
should probably be filled with None as well.
| | 04:23 | So right now I am just interested in
filling the sky, in other words, you could
| | 04:26 | grab a few other colors and start
filling them if you want to but I encourage
| | 04:29 | you for now just to stick with this guy.
| | 04:30 | It will become more and more apparent
why I am doing that in just a moment.
| | 04:35 | Anyway, let's just fill in some more
regions and you can go as nuts as you want
| | 04:40 | to, do as good a job as you want
because you know, you always know that I have
| | 04:44 | more sample files waiting for you where
I have completely finished this project
| | 04:47 | and done all the wok for you. Oh my goodness!
| | 04:50 | I am good to you.
| | 04:50 | All right, so anyway, sometimes there
are these tiny little dinky areas that
| | 04:54 | you need to fill and if you want to
get to them, you are going to have to
| | 04:57 | really zoom in closely.
| | 04:58 | Like this area, right there.
| | 04:59 | If you zoomed in too far, you could end up
filling sort of a region of black, like this.
| | 05:05 | The lines that define the
artwork and you don't want to do that.
| | 05:07 | So I will go ahead and undo that
modification and click in that central area
| | 05:11 | in order to fill it and this could be
construed as being part of the sky too, I suppose.
| | 05:15 | All right.
| | 05:16 | Let's say that you run into
an area like this, right there.
| | 05:20 | And by the way I will go ahead and
zoom out, so you can see where I am inside
| | 05:23 | of the illustration.
| | 05:24 | I am toward the right hand portion toward
the right hand central area, right there.
| | 05:29 | This is an area where I can't really
fill things the way I would like to.
| | 05:33 | I can fill around it, on both sides of
this tree limb, and up above it as well.
| | 05:37 | But if I zoom in on this specific limb,
this little crook here, I can't
| | 05:42 | fill because there is a gap.
| | 05:44 | What do I do about that gap?
| | 05:45 | Well, I will take advantage of the Live
Paint function's Automatic Gap Detection
| | 05:50 | and I will show you how that
works in the very next exercise.
| | Collapse this transcript |
| Using automatic Gap Detection| 00:01 | In this exercise, we are going to
check out Live Paint's Automatic Gap
| | 00:04 | Detection function.
| | 00:06 | It's a little difficult to predict, as
it turns out, but when it works, it works
| | 00:10 | beautifully, and when it doesn't
work, of course, it doesn't work.
| | 00:14 | We will learn about
workarounds in the very next exercise.
| | 00:16 | But for now, notice that I filled
in every patch of sky inside of this
| | 00:20 | illustration, except for two,
and that's this region right there.
| | 00:25 | That's one problem and then the other
problem is that nook, right there, that we
| | 00:28 | saw at the end of the previous exercise.
| | 00:31 | If you want to catch on up with me,
then you can open this document
| | 00:34 | that's called Blue sky.ai.
| | 00:35 | It's found inside of the 19 Live Paint folder.
| | 00:39 | How do we fill in those gaps, so
that we can paint this illustration?
| | 00:43 | Because after all, if I go ahead and
zoom in here, you can see, in this region,
| | 00:47 | that we do have a couple of little tiny gaps,
one right there and another right there.
| | 00:52 | So we have two gaps in this area, and
then of course, over by the nook we just
| | 00:55 | have one fairly large gap.
| | 00:58 | Well, the way to fill in gaps, the best
way, if you can make it work is to use
| | 01:02 | Illustrator's Automatic Gap Detection function.
| | 01:05 | So first go ahead and twirl open the
Image layer and make sure that you have
| | 01:09 | targeted the Live Picture Group layer
by clicking on its meatball so that it's
| | 01:13 | active and you will know that the Live
Paint Group is active because you'll see
| | 01:16 | it up here in the Control palette.
| | 01:18 | Then move over here to this option.
| | 01:20 | It's called Gap Option.
| | 01:21 | Go ahead and click on it, in order to
load the Gap Options dialog box. Turn on
| | 01:26 | Gap Detection so that the Illustrator
can look for gaps inside of your artwork.
| | 01:30 | By default, it wants to look for gaps
that are 3 points in size, so what it
| | 01:35 | considers to be Small Gaps.
| | 01:37 | That doesn't quite work for the crook over here.
| | 01:40 | That's either too big or too small, and
it could be either way, as it turns out.
| | 01:45 | Basically, you are not saying that any
gap that's 3 points or smaller go ahead
| | 01:49 | and fit it in, or conversely
3 points and larger fill it in.
| | 01:53 | Basically, you are saying, things
that are about 3 points, fill them in, and
| | 01:58 | tinier gaps might not get filled,
larger gaps won't get filled as well.
| | 02:01 | You will see how many gaps are getting
filled here, where it says, Gaps Found
| | 02:06 | 76. That's kind of interesting.
| | 02:07 | You will also see a preview of your gaps,
indicated by red lines inside of your illustration.
| | 02:14 | All right, so this area did not get a
red line, so it did not get filled in.
| | 02:17 | Go ahead and turn on the Custom checkbox,
so that you can dial in your own value.
| | 02:23 | You can either - you can try different
values if you want to, in order to get a
| | 02:26 | sense of what this
function is going to do for you.
| | 02:29 | But as I say, it's not super-
predictable, like this looks to me to be much
| | 02:34 | smaller than a 3 point gap.
| | 02:36 | But turns out, in order to fill it in,
I need to take this value up into the
| | 02:40 | neighborhood of about 5 points, actually.
| | 02:44 | Then you will see that the gap
gets filled in at this point in time.
| | 02:47 | Okay, that's good news.
| | 02:48 | We can't really see the other gap, so I
don't know if it's getting filled in or not.
| | 02:52 | We will just have to see in a moment.
| | 02:53 | So I will go ahead and click OK,
| | 02:54 | in order to accept that modification.
Notice, it's telling me 39 gaps are filled in.
| | 02:58 | Fine!
| | 02:59 | Now, I will move into this crook
area and it is filled in, great!
| | 03:03 | So I will go ahead and click in order to
fill the crook, and then I will move my
| | 03:07 | Live Paint Bucket into this region of
the sky and click, and it fills fine too.
| | 03:12 | So both of those items were solved quite nicely.
| | 03:16 | All right, now let's move to the
grass inside of this illustration.
| | 03:20 | I will go ahead and switch my Paint
Bucket Color to that grass green, which is
| | 03:27 | just at the right, so I'll just
press the right mouse button once.
| | 03:29 | Then I will click in this area to
fill it and this area to fill it.
| | 03:33 | Now, if I zoom out a little more, we
can see that the larger area of grass
| | 03:37 | isn't filled very well.
| | 03:38 | If I click out here, I am going to fill
the tree and make sort of a mess of things.
| | 03:42 | I will Undo that modification.
| | 03:44 | If I move over to this region, I
can see that it leaks out here too.
| | 03:49 | So we have another spill point.
| | 03:51 | Let's see if we can fill that in, at least.
| | 03:53 | Might as well give that a try.
| | 03:55 | So I will go up here to the Gap
Options button, and you can see now all
| | 03:59 | these red lines all over the place where gaps
are getting filled inside of the illustration.
| | 04:03 | Let's go ahead and take this value up
to 9 points and press the Tab key in
| | 04:09 | order to accept that modification, and
see if that doesn't work a little better
| | 04:13 | for us and it does. Look, we've got a little bit of a gap
filler right there, which should help us out.
| | 04:18 | So I will go ahead and click OK in order
to accept that modification. Then I will
| | 04:22 | click in order to fill that
area with green. All right.
| | 04:25 | That's kind of nice.
| | 04:26 | Problem is, look at our nook.
| | 04:29 | Look at the things that we
filled just a moment ago.
| | 04:31 | This area right there is fine.
| | 04:32 | It's still filled in.
| | 04:33 | For some bizarre reason 9 points works
for it just as well as 5 points did.
| | 04:38 | But this little nook here
became transparent again.
| | 04:42 | So it lost it's fill
because that gap got revealed again.
| | 04:45 | So what in the world do we do?
| | 04:47 | Well, here's how things work.
| | 04:49 | You want to go ahead and click on your
Gap Options button again, and you want to
| | 04:54 | go ahead and close those gaps.
| | 04:56 | So just go ahead and click on the Close
gaps with paths button, in order to fill
| | 05:02 | in all of the gaps that it
found in the previous round.
| | 05:04 | It's going to tell you, "Hey, this is
a permanent modification," to which I
| | 05:08 | would say, "So what? Big deal!"
| | 05:10 | We can always color over
these filled gaps pretty easily.
| | 05:13 | So I will go ahead and say, Don't show
again, and then I will click on the Yes
| | 05:17 | button in order to make the change happen.
| | 05:21 | After a moment, it's going to go ahead
and update the document of course and
| | 05:23 | fill in those gaps and it will go
ahead and close the dialog box as well.
| | 05:26 | All right, so now we need
to fill in this area again.
| | 05:29 | So let's go ahead and turn the function on
again because Gap Detection has got turned off.
| | 05:34 | When you fill in the gaps, you also turn off
the function because the gaps are filled in.
| | 05:38 | You don't need the function anymore.
| | 05:40 | So let's turn on Gap Detection again.
| | 05:43 | If I was to change the value to 9
points, still set to 9 points, notice it
| | 05:48 | doesn't find any gaps this time around
because it already filled in those 9 point gaps.
| | 05:51 | Let's go ahead and set it back to 5 points
and see how many gaps it finds this time around.
| | 05:57 | Now we should find fewer. It found 17
this time because a few of those 5 point
| | 06:01 | gaps also got filled in
by the 9 point gap filler.
| | 06:05 | Go figure, but that's the way it works.
| | 06:07 | But we do fill in this little nook,
which is the most important thing.
| | 06:09 | So I will click OK in order
to accept that modification.
| | 06:12 | Then I will press the Left Arrow key to
restore the sky blue swatch and I will
| | 06:17 | click in that nook in order to fill it in.
| | 06:20 | So we have taken care of the entire sky
at this point and we have taken care of
| | 06:25 | a few patches of grass.
| | 06:27 | What about this larger area of grass right here?
| | 06:29 | We have got a bunch of
very big areas to fill in.
| | 06:34 | How do we accommodate those?
| | 06:35 | Well, we are going to fill in those
gaps manually and I will explain how in
| | 06:39 | the very next exercise.
| | Collapse this transcript |
| Closing gaps manually| 00:01 | In this exercise, I am going to show
you how to manually fill in gaps that are
| | 00:05 | not accommodated by the Gap
Detection feature and it may be that the Gap
| | 00:09 | Detection feature just cannot detect
specific gaps inside of your illustration
| | 00:14 | or it may be that you simply run out of
patience trying to make it figure out
| | 00:18 | where the gaps are.
| | 00:20 | Either way, it's often easier just to
whip out those straight line tool, as you'll see,
| | 00:24 | and fill in the gap to yourself and
that's what we are going to be doing.
| | 00:28 | Now, I am working inside of a
document called Gap detection on.ai that's
| | 00:33 | found inside of the 19 Live Paint
folder, in case you want to catch up with
| | 00:38 | me for whatever reason.
| | 00:40 | Notice, if I move my Live Paint
Bucket down to this location here that I am
| | 00:45 | going to fill in a ton of stuff, and
that's because I have got a really big
| | 00:49 | gap right here in this portion of the
tree but we also have smaller gaps going
| | 00:54 | on through this region of the
tree roots and for some reason, this area
| | 00:58 | is closed off to me.
| | 01:00 | I am not sure what's about.
| | 01:01 | This area, we have got a Close right
there so that we do have a demarcation
| | 01:06 | between grass and tree, but I
don't like the angle of the close.
| | 01:09 | I would want to be sort of
up in this region, instead.
| | 01:11 | Why don't we go ahead and draw a few gap
closing lines of our own and here is how you do it.
| | 01:16 | First of all, make sure that your Live
Paint Group is meatballed here inside
| | 01:22 | of the Layers palette.
| | 01:23 | Then I want to you to grab your
Straight Line tool because that's the easiest
| | 01:28 | tool to use to fill gaps, as it turns
out, and then I want to you to go up to
| | 01:32 | the Control palette and I want to
you click on Isolate Selected Group.
| | 01:35 | So if we go back into that Group
Isolation mode and you can tell we are in Group
| | 01:39 | Isolation mode because we can see the
gray bar at the top of the window, and I
| | 01:43 | am going to go ahead and zoom in to this
region of my tree, to the big gap and I
| | 01:49 | am just going to draw a line,
like this, across this region.
| | 01:52 | It doesn't have to be a
perfectly perpendicular line.
| | 01:54 | It doesn't have to be at a specific angle.
| | 01:56 | It doesn't have to be in a specific
place as this is a free form drawing.
| | 01:59 | So do whatever you want.
| | 02:01 | Notice as soon as you draw this line
that Illustrator has to go ahead and
| | 02:05 | update that Live Group and it is showing you
that the Fill and Stroke of the line are None.
| | 02:11 | So I can't see that I
have made any modification.
| | 02:14 | I have to press Ctrl+H, or Command+H in
order to make my selection outlines come
| | 02:18 | back on screen and now I can see
that line and even though its invisible,
| | 02:23 | totally invisible, Illustrator can
still see it and its part of the Live Paint
| | 02:28 | Group because I am working in this
wonderful Isolation mode right here.
| | 02:31 | So if you twirl open the Live Paint
Group, you will see its the top path in the
| | 02:35 | group, for what it's worth.
| | 02:37 | All right, now let's move over a little
bit here and let's draw another line at
| | 02:41 | this location in this other big gap in
the roots of the trees and that's going
| | 02:47 | to kind of do you but it turns out
there is all kinds of other gaps going on.
| | 02:52 | If you were to switch to the Live
Paint Bucket for a moment and bring it into
| | 02:56 | this region, you would see that there
is all kinds of other sort of little
| | 03:00 | weird gaps going on inside of the
roots that are going to prevent you from
| | 03:03 | filing your roots properly,
| | 03:05 | even though you would manage to cut of
this big portion of this tree right now,
| | 03:08 | which is pretty nice.
| | 03:09 | Let me go ahead and zoom out so
you can see what I am talking about.
| | 03:11 | We have cut off the larger section of
this right hand tree. In fact, I will just
| | 03:17 | go ahead and fill this region.
| | 03:18 | So you can even better see what
in the world I am talking about.
| | 03:21 | Let's go ahead and set the Fill
Color to Grass Green and click.
| | 03:24 | So I have avoided filling any of the
three trees, however, I have done a pretty
| | 03:30 | bad job of filling in their roots.
| | 03:32 | I am not very happy
about the way that that looks.
| | 03:34 | So, you would want to
draw a bunch more gap lines.
| | 03:37 | You want to draw these tiny little
gaps lines all over the place along the
| | 03:40 | bottoms of these roots and
you can do that if you want to.
| | 03:42 | If you want to get some finger
exercise or something. However,
| | 03:45 | I have already gone and done it for you.
| | 03:48 | So go ahead and press Ctr+Z, or Command+Z
if you are following along with me.
| | 03:52 | Let's leave the Isolation mode right
here by clicking on that upper left hand
| | 03:57 | arrow in order to escape out.
| | 04:00 | And notice that there is this layer here
inside of the Layers palette called Gap Lines.
| | 04:05 | If you twirl it open, you are going to
see all these tiny little paths and there
| | 04:08 | are all these little
invisible gap lines right here.
| | 04:10 | Go ahead and turn on that layer, show
the layer, and you are not actually going
| | 04:14 | to see anything because
all the lines are invisible.
| | 04:17 | Then I want you to press the Alt key
or the Option key on the Mac and click
| | 04:21 | in an empty portion of this layer here in
order to select all of those little lines.
| | 04:26 | See them there? I am going to
switch to the White Arrow tool.
| | 04:29 | So we don't see those Live Paint Bucket
highlights and you can now see a ton of
| | 04:33 | tiny little selected
lines throughout this layer.
| | 04:36 | Let's go ahead and take those lines
and add them to the Live Paint Group by
| | 04:41 | taking the square which represents the
selected portion of this layer, of course,
| | 04:45 | grab that square and drag it
into the Live Paint Group, like so.
| | 04:49 | And that we will go ahead, after a moment,
you have got to wait for the progress
| | 04:52 | bar, of course, that will go ahead and
add those lines to the group and you know
| | 04:55 | they are added to the group because we
are not seeing them inside of the Image
| | 04:59 | layer and the Live Paint Group is
closed and we have got a little blue square
| | 05:02 | next to it showing us that
everything is copacetic.
| | 05:05 | So this is all very wonderful.
| | 05:07 | Now, grab your Paint Bucket tool here, go
ahead and make sure that the Fill Color
| | 05:12 | is set to that Grass Green and click
inside of the various areas in order to
| | 05:17 | fill them in. And you should have a
fair degree of luck and actually that it
| | 05:20 | should go pretty quickly.
| | 05:22 | There are about five or six areas that
need filing, but not that many, and you
| | 05:26 | should get to this point right here,
just like that, thanks to those little gap
| | 05:30 | filling lines that you and I made together.
| | 05:33 | You helped out of course.
| | 05:34 | Oops, looks like I missed one area right
there. I will go ahead and fill that in as well.
| | 05:39 | So we managed to fill in all of our
gaps, whether by using Illustrator's Gap
| | 05:44 | Detection function or by
filling in the gaps for ourselves.
| | 05:48 | In the next exercise, we are going to
go ahead and fill in these trees and we
| | 05:51 | are going to do it in a highly automated
method. We are not going to have to get
| | 05:55 | out the paint bucket and
fill in every single tree.
| | 05:57 | We will just do it in one big
one big fell swoop, check it out.
| | Collapse this transcript |
| Filling multiple areas at one time| 00:01 | I am now looking at a document called Land &
sky.ai, found inside the 19 Live Paint folder.
| | 00:07 | The next step is to go ahead and fill
in the trees with brown, and that might
| | 00:11 | take awhile, if we were to just
click with a Live Paint Bucket tool.
| | 00:15 | For example, I'd grab the Live Paint Bucket.
| | 00:17 | I would advance to the Brown Swatch,
which is called Trees, incidentally, and
| | 00:22 | then I would click inside the various
portions of the trees in order to fill
| | 00:26 | them in, but there are a lot of
branches going on, as you can see here, and an
| | 00:29 | awful lot of roots as well.
| | 00:31 | So it's going to take us a while if we
have to rely on single-clicking with the
| | 00:35 | Live Paint Bucket tool.
| | 00:36 | Fortunately, we don't.
| | 00:38 | I am going to go ahead and Undo those
last operations by pressing Ctrl+Z, or
| | 00:42 | Command+Z on the Mac.
| | 00:44 | You will also have the option of double-
clicking or triple-clicking with this tool.
| | 00:48 | Note, if I just go ahead and click once
inside this large body of this middle
| | 00:53 | tree, I fill the trunk of the tree and
a few of the limbs, but if I don't fill
| | 00:57 | in the bottom-most portion of those
roots right there. Compare that, I will go ahead and
| | 01:02 | Undo that modification,
| | 01:04 | compare that to double-clicking with that tool.
| | 01:07 | So clicking twice in a row, which goes
ahead and fills in all the roots as well.
| | 01:12 | So what's going on there?
| | 01:13 | Well, double-clicking with the Live
Paint Bucket we will fill in adjacent areas,
| | 01:18 | will fill in all adjacent areas.
| | 01:20 | So it will jump the gap lines either
that you drew in or that it drew in for you.
| | 01:26 | In this case, it just went
ahead and jumped its own gap lines.
| | 01:29 | You also have the option of triple-clicking.
| | 01:31 | Let me go ahead and Undo that last operation.
| | 01:33 | If you triple-click, you will fill in
all colors that match the color that
| | 01:38 | you are clicking on.
| | 01:39 | So in other words, this tree is currently white,
| | 01:42 | so are the clouds and so were all the
tree limbs, so I can expect to fill them
| | 01:46 | all in one fell swoop if I
just triple-click with this tool.
| | 01:48 | So here it goes. One, two, three, and
it does indeed fill just about everything
| | 01:54 | inside of the illustration
that hasn't been filled so far.
| | 01:57 | The exceptions are these limbs up here.
| | 02:00 | Why didn't they get filled in?
| | 02:01 | Well, you may recall, a few exercises
ago I accidentally filled those with blue
| | 02:07 | and so then I went back and filled them
with transparent to get rid of the fill.
| | 02:11 | Well, that's the culprit, I filled
them with transparent instead of white.
| | 02:15 | So now, if I triple-click on this guy,
I will go ahead and fill in all the
| | 02:19 | transparent areas as well.
| | 02:21 | So we have now filled in all of the trees.
| | 02:23 | Problem is we went ahead
and filled in the clouds too.
| | 02:26 | So let's go ahead and switch our
Fill Color to White, which I will do by
| | 02:31 | pressing the Left Arrow key a few
times in row and then we will fill in the
| | 02:34 | clouds with white, like so.
| | 02:36 | That's going to involve a total of
five clicks I believe, and there we have it.
| | 02:41 | We now have a completely filled
illustration that is filled with flat fills.
| | 02:46 | In the next exercise, we are going to
see how we can convert all of these flat
| | 02:50 | fills into gradients, into wonderful
scary gradients with the help of the Live
| | 02:55 | Paint Selection tool.
| | Collapse this transcript |
| Selecting areas of similar color| 00:00 | For our last exercise, I am working on
a document called Solid fills.ai, found
| | 00:05 | inside the 19 Live Paint folder,
| | 00:08 | so called, of course, because we
have filled everything inside of our
| | 00:11 | Illustration with Solid Fills.
| | 00:14 | I now want to switch those over to the
Gradient Fills that I have also provided
| | 00:18 | for you here inside of the Swatches palette.
| | 00:21 | So let's go ahead and do that and we
are going to do with this time, using the
| | 00:25 | Live Paint Selection tool.
| | 00:26 | So, go ahead and select
that tool from the toolbox.
| | 00:29 | You can get to it by pressing Shift+L
as well, if you want to. All right.
| | 00:33 | Let's say we want to
start of by filling the sky.
| | 00:36 | Go ahead and click in one of these
patches of the sky in order to select it.
| | 00:40 | How do you select all the other regions of sky?
| | 00:43 | Well, you go up to the Select menu.
| | 00:45 | You choose Same and you choose Fill
Color, which is your only available
| | 00:49 | command in this sub-menu.
| | 00:51 | And that will grab all of the blue
filled areas inside of this Live Paint object.
| | 00:58 | Now, go ahead and click on the Dark
stormy Swatch here inside of the Swatches
| | 01:02 | palette and I want you to grab the
Gradient tool because they are all filled
| | 01:06 | with independent gradients right now.
| | 01:07 | If you press Ctr+H or Command+H on the
Mac, you will see that every one of these
| | 01:12 | gradients is sort of disparate,
which is actually pretty cool.
| | 01:15 | You might like that effect because
it looks like sort of a stain glass
| | 01:18 | effect right now, but let's say
that you wanted to be one continuous
| | 01:22 | gradient for whatever reason.
| | 01:24 | Then go ahead and drag from the
bottom, basically around the horizon line
| | 01:29 | right there, and Shift+Drag upwards.
| | 01:32 | So I am pressing the Shift Key as I drag
upwards in order to create a continuous
| | 01:35 | sky, a continuous dark and stormy sky.
| | 01:38 | So that's one way to work. All right.
| | 01:40 | Let's go ahead and press Ctr+H, or
Command+H on the Mac in order to bring back
| | 01:44 | that little selection
sort of dot pattern in there.
| | 01:47 | Now, it stands to reason if you can
double-click and triple-click with the Live
| | 01:53 | Paint Bucket tool, you must be able to
double-click and triple-click along with
| | 01:57 | this Live Paint Selection tool as well.
| | 01:59 | And if that thought occurred to you, well,
congratulations, because that thought is right.
| | 02:04 | I am going to go ahead and click on
the Live Paint Selection tool in order to
| | 02:07 | select it and then I am going to
triple-click inside the grass in order to
| | 02:12 | select all of the grass inside of
the document and I am going to fill the
| | 02:15 | grass with this guy right here,
Luminous land and again, I am going to grab my
| | 02:20 | Gradient tool and drag from the bottom of
the illustration up to the horizon line.
| | 02:25 | So, from the bottom up and I am
pressing the Shift key as I do that, of course,
| | 02:29 | and I might as will do the
same thing with these clouds.
| | 02:32 | Go ahead and convert them over to trees.
| | 02:34 | I think they will look little better.
| | 02:35 | So, one, two, three, click inside of the clouds.
| | 02:38 | Fill them with this Luminous Land
Gradient right there and, of course, go
| | 02:43 | ahead and drag with the Gradient tool
in order to fill them in so that they
| | 02:47 | look like sort of a distant forest and
then, finally, we want to go ahead and
| | 02:51 | fill in the brown trees.
| | 02:53 | So grab your Live Paint Selection tool.
Once again, triple click inside of the trees.
| | 02:57 | I did it.
| | 02:58 | I have got my selection
edges hidden at this point.
| | 03:01 | So I can't see whether I selected
the trees or not, but you know what?
| | 03:05 | I have faith that I did because
I have done it three times now.
| | 03:08 | I must have gotten it right.
| | 03:09 | So, I will go over to the Swatches
palette and click on the Haunted Bark in
| | 03:13 | order to fill in those trees like so
and I did indeed select all the trees, so
| | 03:17 | that's good to know.
| | 03:18 | Now I will grab the Gradient tool and
I will drag from the bottom up to the
| | 03:21 | top of the tree limbs and I am pressing the
Shift key to constrain the angle of my drag.
| | 03:25 | Now, there is one thing you might
notice, one little problem that's occurring
| | 03:29 | here. If you zoom on in to the
top of the document right there,
| | 03:33 | I will go ahead and hide that
white at the top of the screen,
| | 03:36 | you can see that the trees, the brown
of the trees gets darker and darker and
| | 03:40 | darker as it goes up and pretty
soon its darker than the outlines are.
| | 03:45 | Its darker than the black outlines and
that's because the black outlines are
| | 03:48 | filled with a plain black and that's
because Illustrator automatically creates a
| | 03:53 | plain black when it does a black and
white tracing, whereas my Gradient here,
| | 03:58 | this Haunted Bark Gradient, includes
a rich black right there at the end.
| | 04:02 | So, we need to switch out the plain
black for a Rich Black and we are going to
| | 04:05 | do that by grabbing the Live
Paint Selection tool, once again.
| | 04:10 | And we need to make sure that we are
seeing a highlight around the black area of
| | 04:15 | the image, around this
black sort of outline area.
| | 04:18 | So make sure that you are outlining the
right portion of your document and then
| | 04:22 | give it a triple-click, one, two,
three, then go over to the Swatches palette
| | 04:26 | and click on this Rich Black Swatch in order
to fill all of those lines with Rich Black.
| | 04:32 | All right.
| | 04:33 | That looks good to me.
| | 04:34 | Let's go ahead and zoom out.
| | 04:36 | I am going to zoom out on this screen to
220%, so that we can take in the entire
| | 04:40 | finished Illustration.
| | 04:42 | I am going to switch to
the Full Screen mode here.
| | 04:44 | I am going to press the Tab key to
make my palettes go away and there is the
| | 04:48 | final version of this Haunted illustration.
| | 04:52 | Thank you very much James Dean
Conklin for providing the sketch.
| | 04:55 | Thank you by the way, you, for doing
this project and then of course thanks to
| | 05:00 | the Live Paint feature which makes
it all possible here inside Adobe
| | 05:04 | Illustrator CS3.
| | Collapse this transcript |
|
|
20. Live ColorThe best new feature since transparency| 00:00 | Illustrator CS3's big new feature, Live
Color, grew up like nothing we have seen
| | 00:05 | in the program before.
| | 00:06 | It started as a web
application called Kuler.
| | 00:10 | I will be showing you Kuler in a
moment, but essentially, it's like this.
| | 00:14 | Kuler lets you mix the collection of
five colors either independently or in
| | 00:18 | concert and share your collection with
a wider community of color enthusiasts.
| | 00:22 | On paper, Kuler is a tenuous idea.
| | 00:25 | I mean, is there any precedent for
amassing say your five favorite crayons and
| | 00:29 | trading them with friends?
| | 00:31 | But it's so well-implemented, rife
with elegant controls that ought to be
| | 00:35 | available throughout the Creative
Suite applications, that Kuler might end up
| | 00:39 | building a little bit of the following.
| | 00:41 | Well, one Creative Suite
application did end up getting Kuler and that
| | 00:44 | application is Illustrator,
but it's not just Kuler.
| | 00:47 | It's a whole lot more.
| | 00:49 | Not only can you amass collections of
expertly picked colors of any quantity I
| | 00:54 | might add, but you can trade them
between illustrations and re-purpose the
| | 00:57 | relationship between those colors
| | 00:59 | as a harmony rule for future collections.
| | 01:02 | Plus you can re-express the collection,
called a Color Group, as Spot Colors plus
| | 01:08 | you can select related and
complementary colors from a new Color Guide palette
| | 01:12 | and best of all, you can reassign all
colors inside a selected group of objects
| | 01:17 | or across as entire illustration,
even going so far as distilling the colors
| | 01:22 | down to say a two-color spot job.
| | 01:25 | It's easy to dismiss Illustrator's
far reaching Live Color offerings as so
| | 01:29 | much eye-candy, but in truth, they
represent the single biggest enhancement to
| | 01:33 | the program in years. Think about it.
| | 01:35 | Can you even remember what the
new features in Illustrator CS were?
| | 01:39 | Hint, I was one of them. It's true.
| | 01:42 | Those were the days, man,
back when I was a feature.
| | 01:46 | Well, you may not know it now, but
Live Color is going to fundamentally
| | 01:50 | transform the way you work.
| | 01:51 | It's not quite as earth-shattering
as transparency, but it's up there.
| | 01:55 | You'll see.
| | Collapse this transcript |
| Introducing Adobe Kuler| 00:01 | This first exercise comes to us less by
way of advanced techniques and more by
| | 00:05 | way of advanced technologies.
| | 00:08 | I think it's fair to say that the new
color functions inside of Illustrator CS3
| | 00:12 | are either based on or take their
inspiration from this technology called
| | 00:17 | Kuler, which is an Adobe technology
that's offered by way of a website.
| | 00:24 | And you can get to that
website by going to kuler.adobe.com.
| | 00:29 | It's part of the ongoing Adobe Labs Project.
| | 00:32 | Adobe Labs is basically Adobe's R&D
department and they are basically creating
| | 00:36 | all this experimental technology and
posting it at labs.adobe.com and making
| | 00:42 | much of it available to anyone,
whether they own Adobe products or not, and
| | 00:46 | that's certainly true of Kuler right here.
| | 00:48 | It's available to anyone on the web,
and it's less a website and more of what
| | 00:53 | Adobe calls a Rich Internet Application,
and I am the first one that would say
| | 00:58 | the emperor has no clothes, because
Rich Internet Application sounds awfully
| | 01:02 | highfalutin, but I'd say, in
this case, I totally go for it.
| | 01:06 | Of course, the website ends up
running inside of another application.
| | 01:09 | It runs inside your browser, whether
it be Internet Explorer, or Safari, or
| | 01:13 | Firefox, or what have you.
| | 01:16 | But you can actually get work done.
| | 01:18 | You can actually create and share color
libraries from the Kuler site, and it is
| | 01:24 | sufficiently cool for me to show it to you here.
| | 01:26 | So, when you first get to Kuler,
you are going to be looking--
| | 01:29 | at least the way things
are organized these days--
| | 01:31 | you are going to be looking at
the most highly-rated collections,
| | 01:35 | color-collections, that are available
right now and notice, by the way, that
| | 01:40 | we're seeing collections of five colors.
| | 01:42 | Again, that's the way things
are put together right now.
| | 01:44 | It's so that you can create and
share these five color collections.
| | 01:48 | Very possibly in the future they
will permit more, I would imagine.
| | 01:52 | At first blush, it seems kind
of like the iTunes of color.
| | 01:55 | You can check out these
libraries that other people have created.
| | 01:58 | For example, let's go to the Japanese
Garden Collection, which we're seeing at
| | 02:02 | the top of the screen right now.
| | 02:04 | Now I can see who created the
collection, what the name is, of course,
| | 02:07 | the keywords that are
associated with that collection.
| | 02:10 | That allows me to search for different colors.
| | 02:11 | For example, I could go over to the
Search field,and I could enter the string,
| | 02:15 | Midnight, in order to check out all
color themes that have the word Midnight
| | 02:20 | associated with them.
| | 02:22 | In my case, I am going to see
Midnight Garden Copy at the top.
| | 02:25 | This tends to be one of the common
problems with the Kuler and the way that
| | 02:30 | people are using Kuler right now.
| | 02:32 | They get kind of confused and they
accidentally create copies of other people's
| | 02:36 | collections, and maybe vary
a single color or maybe not.
| | 02:39 | Anyway, you have to watch out for that.
| | 02:41 | For example, if I enter Bonsai
to get back to the Japanese Garden
| | 02:46 | Collection there, then the first
thing that I am going to see, my first hit
| | 02:49 | is Japanese Garden Copy, which looks exactly
like Japanese Garden, exactly like the original.
| | 02:54 | Anyway, once you check out one of
these color collections, you could decide
| | 02:59 | "Gosh, I am going to rate it," and
you rate it just by clicking on the
| | 03:02 | star rating, and then that becomes your rating.
| | 03:04 | It shows up in blue from that point on.
| | 03:07 | You can also add a comment.
| | 03:09 | For example, in the case of Japanese
Garden, I would say, thank you very much.
| | 03:12 | Domo Arigato, Mr. Roboto,
and then click Submit.
| | 03:16 | I don't really want to trash up the ratings
with something silly like that. But oh, heck.
| | 03:21 | Let's go for it! No...
| | 03:23 | Then we also have the option of
saving this color library, this five color
| | 03:28 | library, as an Adobe Swatch Exchange File,
an ASE file, and you can open an ASE
| | 03:34 | file inside of Illustrator, or
Photoshop, or InDesign, inside of the CS3
| | 03:39 | versions of either those applications.
| | 03:42 | Now, if you are thinking of doing that,
specifically for Illustrator, don't.
| | 03:46 | Because there is a better way to
access these color libraries from directly
| | 03:50 | inside of Illustrator.
| | 03:51 | So you don't have to worry about where
they are located and where you put them
| | 03:54 | on your hard drive
and search around for them.
| | 03:56 | You can just get them directly from
Illustrator and I will show you that in
| | 03:58 | the very next exercise.
| | 04:00 | You can also create your own
theme based on the current theme.
| | 04:04 | So let's go ahead and click on Create
and it takes us to the creation area
| | 04:09 | of the website, which is, I have to
say between you and me, by far the
| | 04:13 | coolest part of Kuler.
| | 04:14 | And you can also get to Create just by
clicking on the Create button on the left
| | 04:18 | hand side of the screen, which is always there.
| | 04:20 | We saw it just a moment ago, too,
before we came to this area.
| | 04:23 | Now, currently we are just seeing a
custom color orientation, which means that
| | 04:27 | all five colors are loosely organized.
| | 04:31 | There is no tie that binds the five of
them together and you can just move them
| | 04:35 | around here inside of the big color wheel.
| | 04:38 | Now, the way the big color wheel is
concerned, just to give you a sense of
| | 04:42 | what's going on, in case you're not
familiar with it, this color wheel
| | 04:44 | represents the entire visible color
spectrum starting with red and then wrapping
| | 04:49 | all the way back to red again, and if
you drag around the outside of the color wheel,
| | 04:53 | you are going to change the Hue,
which is the core color component.
| | 04:57 | If you drag in and out on the color wheel,
then you are changing the Saturation,
| | 05:02 | which is the intensity of the color,
and finally you have control over the
| | 05:05 | Luminance, or if you prefer brightness
of the color with the slider bar right
| | 05:10 | here that's located underneath the color wheel.
| | 05:13 | And notice that we're just changing this
one color, which is represented by this
| | 05:16 | dot here inside of the graph,
inside of the color wheel.
| | 05:20 | Now, that's what happen when your rule
is Custom, meaning that there is no rule.
| | 05:25 | Otherwise, we have six rules to choose from:
| | 05:28 | Analogous, Monochromatic, Triad,
Complementary, Compound, and Shades.
| | 05:31 | Now, that's all very well and good,
but what in the heck do they mean?
| | 05:34 | One of the great things about this site
is that you can hover over one of these
| | 05:37 | rules and get a description of it.
| | 05:40 | Analogous means adjacent hues. Awesome.
| | 05:42 | And if you click on Analogous, you are
going to see what those adjacent hues look like.
| | 05:46 | Check that out.
| | 05:47 | So I will go ahead and drag the base
color out like this, and I could either
| | 05:51 | then move the other colors, the
supporting colors, in or out to determine just
| | 05:56 | how adjacent they are.
| | 05:57 | Now, your base color, in my case, the
base color is this first color inside of
| | 06:02 | the graph there, and that's going to
move all the colors around together.
| | 06:07 | If you drag anything but the base
color, you are going to either spread the
| | 06:10 | other colors or bring them together
while the base color stays in place.
| | 06:14 | If you want to shift to a different
base color, for example, you decide this
| | 06:17 | is the better base, then go ahead and
hover over this color and then click on
| | 06:21 | its Set as base button in order to set
that as the base in order to move it to
| | 06:25 | the central position there, and then
dragging it around will change all the
| | 06:29 | others in kind and so on. Okay.
| | 06:31 | So, that's Analogous.
| | 06:32 | It's adjacent colors.
| | 06:33 | You also have Monochromatic, which is a
single hue with different intensities,
| | 06:37 | different saturation and brightness.
| | 06:39 | You have got Triad, which forms a triangle
of colors inside of the color wheel there.
| | 06:44 | I will go ahead and click on Triad
so that you can see what it looks like.
| | 06:48 | Now, I will go ahead and drag the base
color around like so and you can see
| | 06:51 | that the colors are organized in a triangle.
| | 06:53 | And then, I will go ahead and drag
this guy out and so some of the colors you
| | 06:57 | can move independently, but along a fixed axis.
| | 07:01 | And dragging other colors allows
you to move colors as a group like so.
| | 07:04 | Then we have Complementary, which is going to
be opposite colors inside of the color wheels.
| | 07:09 | We have got Compound, which is going
to create what it's saying is the more
| | 07:13 | interesting colors from the multiple hues.
| | 07:15 | It's actually colors that are arranged
in certain clusters opposing each other.
| | 07:20 | So, it's very much like Complementary.
| | 07:21 | You can see that Complementary is
absolutely, the colors are absolutely
| | 07:24 | opposite of each other.
| | 07:26 | Compound has a little more variety to it,
and then Shades are all of the colors
| | 07:31 | sort of in line with each other,
different shades of a single hue and
| | 07:36 | saturation combination.
| | 07:40 | Let's say I was enjoying the Triad rule
there and I want to go ahead and drag
| | 07:43 | these guys apart from each other a
little more, so that we have some more
| | 07:46 | variety, and I am going to move that
base color in and I am going to move its
| | 07:50 | neighboring color out a little bit.
| | 07:52 | And I end up coming up with something
that I like, something that I think
| | 07:55 | I might actually use in the future.
| | 07:57 | Let's not call it Japanese Garden Copy.
Because after all, it has nothing to do
| | 08:01 | with Japanese Garden anymore.
| | 08:03 | Let's go ahead and call it Perfect
Triad or something along those lines.
| | 08:08 | Then we can add some keywords as well.
| | 08:10 | I suggest, by the way, that you get
rid of the other person's keywords,
| | 08:14 | the other person's tags and you enter your
own, and I would say in this case we've
| | 08:19 | got skin, we've got earth tones, and
we've got sky, or something along those lines,
| | 08:25 | whatever keywords you want to
enter, and then go ahead and save that out.
| | 08:28 | Now if you save it, you save it so
that you can look at it in the future.
| | 08:32 | If you publish it, you put it out there
so everyone else can look at it as well.
| | 08:36 | So, it's up to you which way you want to work.
| | 08:38 | In my case, I am just
going to go ahead and save.
| | 08:42 | Then you'll be returned to your area
where you can check out the color schemes
| | 08:45 | that you've created.
| | 08:46 | So, I have got my Perfect Triad right
here and I also have this one called
| | 08:49 | Analogous Pastels that I have created.
| | 08:52 | Notice that it says that it's created by Adobe.
| | 08:54 | That's because my login
happens to be adobe@deke.com.
| | 08:57 | Don't let that fool you. It's me.
| | 08:59 | And then finally, of course, you can
go ahead and save that out if you wish.
| | 09:02 | So that gives you a sense of
what's going on at the Kuler website.
| | 09:05 | If you want to check it out, by all means do.
| | 09:07 | In the next exercise, I am going to
show you how to access Kuler from directly
| | 09:11 | inside of Illustrator CS3.
| | Collapse this transcript |
| Accessing Kuler from inside Illustrator| 00:01 | Now, let's take a look at how to
access Kuler from directly inside of
| | 00:04 | Illustrator CS3.
| | 00:06 | I am working inside of Illustrator, by the way.
| | 00:08 | I am looking at an illustration
called Dance.ai that comes to us from
| | 00:13 | Moscow-based designer Bulent Ince and
he is one of the most popular artists
| | 00:18 | with iStockPhoto.com.
| | 00:20 | His stuff just flies off the shelves, as
it turns out, possibly because it's so good.
| | 00:25 | And to get to Kuler, go up to the
Window menu and choose Adobe Labs, which
| | 00:29 | provides you access with a couple of
different Adobe Lab projects here and then
| | 00:34 | choose Kuler in order to
bring out the Kuler palette.
| | 00:36 | Now, if this is the first time you have
chosen that command, then you will get a
| | 00:41 | little bit of a warning telling you
what's going on and asking you to accept.
| | 00:45 | Basically, I guess accept the terms
of the agreement and then you should see
| | 00:49 | the most highly rated color
collections of the day here and there is Japanese
| | 00:55 | Garden, right there.
| | 00:56 | So, if you want Japanese Garden to be
part of the current illustration, then all
| | 01:01 | you have to do is select it from the
list and then click on this button right
| | 01:06 | here which automatically transfers that
collection to your Swatches palette and
| | 01:11 | now just go ahead and scroll down
and you will see it added to the list.
| | 01:15 | I will go ahead and make my Swatches
palette a little taller so that we can see
| | 01:18 | other collections being added as well.
| | 01:21 | You can search by other
criteria, if you want to.
| | 01:23 | This is basically an RSS feed, so it's
going out there and searching the web so
| | 01:28 | you have to have a live internet
connection, but you can switch from highest
| | 01:31 | rated to newest, for example, if you want to.
| | 01:34 | And then it will go do a search and in
a moment, it will deliver what are the
| | 01:38 | newest color collections
that are available out there.
| | 01:42 | If you want to run a search, fine.
| | 01:43 | Go ahead and do a search.
| | 01:44 | I will search for Midnight once again,
because I want to get ahold of that
| | 01:47 | Midnight Collection.
| | 01:49 | And of course, it does it's search and
then I should see right there is Midnight
| | 01:53 | Garden, which is the one that I liked,
so I will go ahead and add it to my
| | 01:57 | Swatches palette as well.
| | 01:58 | Notice that every one of them
is coming in as five colors.
| | 02:02 | Now, let's say that I want
to run a different search.
| | 02:04 | This time, I want to search for Disco,
since it's more on keeping with the theme
| | 02:08 | of this specific graphic, but when I
get the return on Disco items here,
| | 02:13 | death disco looks actually kind of cool,
but I really don't like any of the other ones
| | 02:17 | very much, for whatever reason. They
don't really fit when I am looking for
| | 02:21 | for this illustration.
| | 02:22 | So, I am thinking, hey, you know what?
| | 02:23 | I would like to keep an eye on what's
going out there with the disco collection.
| | 02:28 | So, I think, I will go ahead
and create my own custom feed.
| | 02:31 | So, I will click on this middle
button right there and it will bring up the
| | 02:35 | Custom Feed options and then I will
enter Disco and I will click on Plus in
| | 02:40 | order to make that one of the items
| | 02:42 | that's available to me from this
menu right here and then I will go ahead
| | 02:45 | and click on Disco, from now on in order to
run another search for Disco in the future.
| | 02:51 | And this might be the kind of thing
that I would run a search for every week or
| | 02:54 | two and see what comes up, that kind of thing.
| | 02:56 | If you decide, for some reason you no
longer want to do a search for disco,
| | 03:00 | all you have to do is go back to your
Edit Feeds button right there and then
| | 03:04 | click the Minus button for Disco and
it will no longer show up in the list.
| | 03:08 | And then finally, if you want to, you
can grab one of your own collections here
| | 03:12 | inside the Swatches palette
and you can upload it to Kuler.
| | 03:16 | Now, what I am going to tell you is it
needs to be a collection of five colors or less.
| | 03:21 | It needs to be a group of five
colors or less and this happens to be a
| | 03:25 | collection of exactly five,
that I have called Group of Five.
| | 03:29 | If you have more than five colors,
then Illustrator is just going to go ahead
| | 03:32 | and truncate that collection
before it uploads it to Kuler.
| | 03:36 | But anyway, I have got this group.
| | 03:37 | I will show you how to create
groups in a future exercise here.
| | 03:41 | But I have got this group, but
I have gone ahead and selected this group
| | 03:44 | inside the Swatches palette and now I
am going to click on Upload, this Upload
| | 03:47 | button right there, and that will
take me to my browser and also take me to
| | 03:52 | the Kuler website here.
| | 03:54 | I will go ahead and maximize my
screen, where I will see all of my five
| | 03:58 | colors represented on the color wheel and I
will see if there is any kinds of rules going on.
| | 04:02 | In my case, it is Custom,
so it's pretty much free form.
| | 04:05 | And then if I want to, I can go
ahead and enter a title for these colors.
| | 04:09 | I am going to call them Rugby because
they sort of look like rugby colors to me
| | 04:12 | and then I would enter whatever tags
I want, something like football, sports,
| | 04:17 | whatever, shirt, style or something and
then once I am done with that, I would go
| | 04:21 | ahead and click on Save, in order to
save it as one of my collections that's
| | 04:25 | available to me that I can check
out in the future. And there it is.
| | 04:30 | There is Rugby along with
Perfect triad and Analogous pastels.
| | 04:34 | All created, of course, by me, Mr.
Official Adobe and that's it for Kuler.
| | 04:38 | In future exercises, we will
focus in on new color features inside
| | 04:42 | Illustrator CS3.
| | Collapse this transcript |
| Working with color groups| 00:01 | In this exercise, I am going to show you
how to create and assemble color groups
| | 00:05 | inside of Illustrator CS3.
| | 00:07 | I would like you to start things
off by opening this illustration.
| | 00:10 | It's called Floral ornaments.ai and it
is once again from Moscow based artist
| | 00:16 | Bulent Ince and I want you to make sure
that you have your Swatches palette open
| | 00:21 | as well and notice the color swatches
that appear here inside the Color palette.
| | 00:25 | These are the default swatches that
Illustrator CS3 adds to every new print document.
| | 00:32 | So, they include a bunch of loose
color swatches just like we used to have in
| | 00:37 | the old days, as well as two color groups.
| | 00:39 | One is called Print Color Group and the
other is called Grayscale and they are
| | 00:43 | just what they look like.
| | 00:44 | They are little folders full
of colors that you can move and
| | 00:49 | modify collectively.
| | 00:51 | Basically what it means is you have
got kind of a subfolder inside of your
| | 00:56 | larger swatches folder, inside
of your larger swatches container.
| | 01:00 | So, I am going to go ahead now and open
a few other swatch libraries that ship
| | 01:05 | along with Illustrator CS3.
| | 01:07 | I am going to click on this Swatch
Libraries menu icon down here in the lower
| | 01:11 | left corner of the palette and
then I am going to choose Art History.
| | 01:14 | And I am going to choose what seems
appropriate here, Russian Poster Art, in order
| | 01:19 | to bring up this collection of colors.
| | 01:21 | And by the way, if you want to see
larger previews of your swatches, after all
| | 01:25 | we tend to have bigger screens these
days than we used to in the old days.
| | 01:28 | So we might as well see our colors nice
and big so we can tell what's going on.
| | 01:33 | Go ahead and click on this icon in the
upper right-hand corner to bring up the
| | 01:35 | palette menu and then choose Medium
Thumbnail View and you can see that this
| | 01:40 | Russian Poster Art library is basically
a collection of color groups and if you
| | 01:46 | hover over any one of these
groups, it will tell you what it is.
| | 01:49 | That's Russian Poster Art 8. That
one is Russian Poster Art 9 and so on.
| | 01:52 | I am going to bring up a few other
libraries as well, so I will click on
| | 01:56 | this icon once again.
| | 01:58 | And this time, I am going to choose
Nature and I am going to choose Flowers,
| | 02:02 | which again seems appropriate, given
the nature of our illustration in the
| | 02:06 | background here and then finally I am
going to choose this guy right here,
| | 02:11 | the Textiles library, and every single one
of these libraries is a collection of groups.
| | 02:17 | Now, that's true for almost all of the
libraries that ship with Illustrator CS3.
| | 02:23 | The exceptions are these Color Books.
| | 02:25 | So if you go to one of the Pantone
color libraries, for example, or Toyo,
| | 02:30 | or Trumatch, or one of those old
style libraries, it's not going to contain
| | 02:34 | any groups whatsoever.
| | 02:35 | Maybe in the future we will see color
groups out of those guys, but not right now.
| | 02:38 | All right, so anyway, now it's just a
matter of let's say that you want to add
| | 02:42 | some of these groups to your Swatches palette.
| | 02:46 | It's really easy to do.
| | 02:47 | You can just grab an entire group
and move it over in one fell swoop.
| | 02:51 | So for example, I might look at this
group down here at the Madras and say,
| | 02:55 | "Yeah, I would like to go ahead and
move that over into my Swatches palette."
| | 02:59 | And all it takes is a drag-and-drop. That's it.
| | 03:01 | And then this guy right here, sure,
Nagoya obi. That sounds great.
| | 03:05 | Not really sure what that is, but I
will learn. And then I will go over to my
| | 03:09 | Flowers palette and this one
looks great to me, the Iris group.
| | 03:12 | So I will move it in as well and
notice every time I am moving one of these groups,
| | 03:17 | like Bird of Paradise, I am
really copying it over. Because you can't
| | 03:21 | modify any one of the libraries
that ships along with Illustrator.
| | 03:25 | They are locked down, as is indicated by
this little strike-through pencil here.
| | 03:29 | You are copying the color
groups instead of moving them.
| | 03:32 | Finally, I am going to go over to
Russian Poster Art and I am going to grab this guy,
| | 03:35 | Russian Poster Art 9, and move it
over into the palette as well and then I
| | 03:40 | will go ahead and close these palettes.
| | 03:41 | But before I do, I want to tell
you that you can switch out palettes.
| | 03:45 | You can switch one palette out for
another by clicking on the bottom left icon
| | 03:49 | belonging to the Library palette and
then choosing one of the palettes that you
| | 03:54 | haven't seen before.
| | 03:55 | For example, if I choose Impressionism,
then I am going to switch out Russian
| | 03:59 | Poster Art 4 Impressionism and I
could say okay, I want to grab this guy
| | 04:03 | and move it over here.
| | 04:04 | So, it's just a way of making sure that you
don't have too many palettes open on screen.
| | 04:08 | You can also cycle between palettes
alphabetically and in the order they appear
| | 04:13 | actually inside of this Libraries
palette menu by clicking on these left and
| | 04:20 | right arrow buttons down there at
the bottom of the palettes. All right.
| | 04:23 | I am going to go ahead and close this
entire palette group there in order to
| | 04:27 | return to my Swatches palette.
| | 04:29 | What if you want to create a group from the
existing colors inside of an illustration?
| | 04:34 | Well, here is what you do.
| | 04:35 | I have gone ahead and twirled open my
Artwork layer here inside the Layers palette.
| | 04:39 | I want you to Alt+Click or Option+Click
on the Stripes layer down here in order
| | 04:44 | to select all of the objects on that layer.
| | 04:47 | Now let's go ahead and automatically
copy the colors from this artwork to a
| | 04:51 | group inside the Swatches palette.
| | 04:52 | We are going to that by clicking on
this little Group icon right there, the New
| | 04:55 | Color Group icon at the bottom of the
Swatches palette. That will bring up this
| | 05:00 | New Color Group dialog box.
| | 05:01 | Now, thanks to the fact that we have
some objects selected, we get these
| | 05:06 | Create From options.
| | 05:07 | If we didn't have anything selected,
we just be presented with the option of
| | 05:11 | naming the group and that's it.
| | 05:13 | But now we have the option of creating
some swatches as well to populate the group.
| | 05:17 | So, I am going to call these Ince
collection because they come from the artist
| | 05:21 | himself and you could
either say Selected Swatches,
| | 05:24 | if I had a group of swatches
selected here inside the Swatches palette or
| | 05:27 | Selected Artwork, which is the option
that we want, Include Swatches for Tints
| | 05:32 | is probably a good idea.
| | 05:33 | Just in case some of these colors were
set up as tints in the first place as
| | 05:36 | oppose to full dialed-in colors.
And Convert Process to Global?
| | 05:41 | That's a question you have to answer.
| | 05:42 | Do you want to be able to
globally edit these colors in the future?
| | 05:45 | It's probably a good idea, although
the option is turned off by default.
| | 05:49 | I suggest you turn it on and then
click OK in order to create that
| | 05:53 | collection right there.
| | 05:55 | So there it is, ways to create
and assemble color groups inside of
| | 05:59 | Illustrator CS3.
| | Collapse this transcript |
| Using the Color Guide palette| 00:01 | In this exercise, I am going to
introduce you to another new color function
| | 00:04 | inside of Illustrator.
| | 00:05 | They are all new color functions after
all and that's the Color Guide palette.
| | 00:10 | I am working inside of this
document called Global colors.ai.
| | 00:13 | That's found inside the 20 Live Color
folder and it's just like floral ornament
| | 00:19 | file that we opened in the previous exercise.
| | 00:21 | The only difference is that we have
added a few color groups, including this
| | 00:25 | group right here, Ince collection.
| | 00:27 | That includes all of the colors
associated with the stripes in the background of
| | 00:32 | this illustration, set up as global swatches,
meaning that if I were to edit the swatch,
| | 00:36 | I would edit the path
filled with that color as well.
| | 00:41 | To bring up the Color Guide palette, go
to the Window menu and choose the Color
| | 00:44 | Guide command, or press Shift+F3.
| | 00:47 | Now my Color Guide palette happens to
nestled between Color and Swatches here.
| | 00:51 | So I am going to move it down to join
the Stroke and Gradient palettes and I am
| | 00:55 | going to move it over to the primary
position right there so that I can keep an
| | 00:59 | eye on the Color Guide and
Swatches palettes at the same time.
| | 01:03 | Now on first blush, the Color Guide
palette doesn't look like all that much.
| | 01:06 | We have a base color, as it turns out.
| | 01:08 | We have got this thing called Harmony
Rules, which is a little misleading.
| | 01:12 | It does take you to a group of Harmony Rules.
| | 01:15 | If you click this down-pointing arrow
head here, then you will see a bunch of
| | 01:19 | different Harmony Rules and as long as
I am here, why don't you go ahead and
| | 01:22 | make sure you are on the same
page as me by clicking on Tetrad 2?
| | 01:25 | That's the rule that I
am working with right now.
| | 01:28 | I believe it's the default, but
we might as well just make sure.
| | 01:31 | But only one Harmony Rule is in place at
any given time and that Harmony Rule is
| | 01:36 | defining which colors we are seeing
inside of this bar and then we are seeing a
| | 01:42 | total of five colors note in all.
| | 01:44 | By the way, if you want to see white
as your base color, just go ahead and
| | 01:46 | press the D key, D for default colors, and then
you will be absolutely on the same page as me.
| | 01:53 | So for each of those five colors,
we are seeing a row inside the mid section
| | 01:57 | of the Color palette.
| | 01:58 | And each row features different tints,
lighter versions of the colors, and
| | 02:02 | different shades based on these
colors here inside the Harmony Rule bar.
| | 02:08 | Let's go ahead and grab a more
interesting color than white though,
| | 02:11 | by selecting the eyedropper from the
toolbox and then I want you to click on this
| | 02:15 | orange stripe right here between the
blue and yellow stripes, in order to make
| | 02:19 | orange your base color.
| | 02:21 | Now notice that it shows up
| | 02:22 | as the base color
inside the Color Guide palette.
| | 02:25 | It should also show up as the base
color inside of the Harmony Rule bar and
| | 02:30 | inside of the Harmony Rule bar,
we see that it's a Global Swatch.
| | 02:33 | We also see a group of Global Swatches
on the right side of this top row right
| | 02:38 | here and that's because we told the
Illustrator to keep track of tints.
| | 02:42 | When we made this group of colors in
the first place back in the previous
| | 02:45 | exercise, we told it to keep track of
tints and because we are working with
| | 02:49 | global colors here,
the tints are global colors as well.
| | 02:53 | The shades are not because we didn't
have the option to tell Illustrator to do
| | 02:56 | anything with the shades and then
of course all the other colors, these
| | 03:00 | complimentary colors and other wide
situated colors according to the Harmony Rule,
| | 03:04 | they aren't global colors either. Okay.
| | 03:07 | Now let's say that we want to switch
out to a different Harmony Rule because
| | 03:11 | none of these colors really make sense for
the illustration that we have going, let's say.
| | 03:15 | Even though it may make sense
where this orange is concerned,
| | 03:18 | orange isn't the only
color that we are working with.
| | 03:21 | So, if we want to switch to a different
Harmony Rule, you just go and click this
| | 03:25 | down-pointing arrow head and you
will see a ton of Harmony Rules listed.
| | 03:29 | Now just to jog your memory here,
| | 03:32 | I am going to switch back to the Kuler
website and remember that we were working
| | 03:37 | with rules. When we were
creating colors in the first exercise,
| | 03:40 | we had a bunch of rules that we
could choose from including, for example,
| | 03:43 | Analogous, which works with
adjacent hues and so on and so on.
| | 03:47 | The great thing here is once we could
see a tip associated with the rule and
| | 03:50 | we could also see the rule
represented here inside of a graph.
| | 03:54 | Now I want you to remember by the
way that Triad is a group of colors
| | 03:59 | arranged in the triangle.
| | 04:00 | But that doesn't necessarily
mean we only have three colors.
| | 04:03 | In fact, in this case, we have five
colors that just happen to be arranged
| | 04:07 | in triangular fashion.
| | 04:08 | All right, so just bear that in mind.
| | 04:10 | I am going to go back here to Illustrator now.
| | 04:12 | Now the great thing about Illustrator is that
it offers you a lot more rules to choose from.
| | 04:17 | The bad news is there is no hints,
there is no tips to tell you what's going on.
| | 04:22 | So we can see though that
Complementary is a single complementary color
| | 04:26 | based on the base color.
| | 04:28 | Complementary 2 is a couple of
variations on the base color as well as a
| | 04:32 | couple of variations on the Complementary color.
| | 04:35 | Split Complementary take the
Complementary color and splits it into two
| | 04:38 | component colors and so on and so on.
| | 04:40 | Down the list, we see Triad.
| | 04:43 | Notice Triad right there and as we
just saw, those are colors arranged in the
| | 04:48 | triangular fashion but Triad 1 or at
least Triad, the first Triad, includes just
| | 04:54 | three colors where as Triad 2
and 3 included total of five colors.
| | 04:58 | Tetrad is a group of four colors.
| | 05:00 | It's not necessarily arranged in the
square but some sort of quadrangle.
| | 05:04 | But there can be five
colors inside of this set as well.
| | 05:07 | As we can see with Tetrad 2 and Tetrad 3.
| | 05:10 | But what really counts is which
group of colors do we want to work with.
| | 05:14 | Well, I am going to go back up here to
Analogous and I am going to click on it
| | 05:18 | in order to select it and we can see
a bunch of Analogous colors to orange.
| | 05:23 | And the whole reason I am doing this is
because if you look very closely here,
| | 05:26 | there is a couple of neighboring
oranges that are so similar to each other that
| | 05:30 | we can barely tell the difference and I
think if we grab a different color here,
| | 05:34 | it might help us out.
| | 05:35 | So I am going to grab this color right
there and I am going to drag it over to
| | 05:39 | this position between the blue and
yellow stripes and I am going to drop it into
| | 05:43 | place and that's going to go
ahead and switch out those colors.
| | 05:46 | Now if that didn't work for you, if you
have got a little Ghostbusters, no-can-do icon
| | 05:50 | then press Ctrl+K,
or Command+K on the Mac.
| | 05:53 | To bring up the Preferences dialog
box and then switch over to Selection &
| | 05:57 | Anchor Display and turn off
Object Selection by Path Only.
| | 06:01 | I know I have had you turn it on about a
gillion times throughout this training series.
| | 06:06 | But this time, I would like you to
turn it off because whereas having it on
| | 06:10 | works better when selecting paths,
having it off works better when trying to
| | 06:13 | fill them by dragging and
dropping color swatches.
| | 06:16 | Anyway, I will go ahead and click OK.
| | 06:18 | Notice by dragging and dropping that
color swatch, I changed the color of a
| | 06:22 | lot of stripes at once.
| | 06:23 | This is before and this is after.
| | 06:26 | That's not because there is some
special function of the Color Guide palette
| | 06:29 | that re-colors many objects at a time.
| | 06:32 | Nor is it because we have got
a Global Swatch specified here.
| | 06:35 | It has nothing to do with that.
| | 06:37 | Rather, it's because there is a giant
rectangle at the back of this illustration
| | 06:42 | that shows through at a bunch of locations here.
| | 06:45 | So all of the stripes that changed
are portions of that rectangle that are
| | 06:49 | showing through because there
is no stripes in front of it.
| | 06:53 | All right, so that's what's going on there.
| | 06:54 | Anyway, this looks much better if you ask me.
| | 06:58 | Gives you a basic sense of what's
going on with the Color Guide palette.
| | 07:01 | We are going to play around some more
with some new color features inside of
| | 07:04 | Illustrator in the next exercise.
| | Collapse this transcript |
| Creating a custom harmony rule| 00:00 | I am still working inside the
Global colors.ai file that I opened up in
| | 00:05 | the previous exercise.
| | 00:06 | The only difference is we took that
shade of orange that was applied to the
| | 00:10 | giant rectangle in the background and we
swapped it out for a different shade of
| | 00:14 | orange that we found here
inside the Color Guide palette.
| | 00:17 | Now I am going to redirect your
attention to the Color Guide palette for a
| | 00:20 | moment, specifically to the Harmony Rules.
| | 00:23 | So, bear in mind that these
Harmony Rules define color relationships.
| | 00:28 | So you select a base color and
then the other colors change in kind,
| | 00:32 | depending on their proximity to the base color
according to the Harmony Rule that's in force.
| | 00:38 | Well, imagine that every one of the
groups here inside of your Swatches palette
| | 00:44 | define it's own sort of Harmony Rule
and that the first color in the group was
| | 00:51 | the base color, and the other colors
in the group were the spin-off colors.
| | 00:55 | So, if you select a group, for example,
I am going to go ahead and select Madras
| | 00:59 | here and if I select that group
then that becomes my Harmony Rule.
| | 01:03 | That Madras groups becomes the Harmony Rule.
| | 01:06 | So I am going to go ahead and select
that Madras group and when I do,
| | 01:10 | the relationship between those Madras
colors becomes the Harmony Rule and so where
| | 01:16 | this group is concerned I am seeing
six colors in all and I am seeing six
| | 01:19 | different rows of tints
and shade variations as well.
| | 01:23 | Now, note that I can switch out the base color.
| | 01:26 | Even though the base color is
showing up this orange, obviously it's not
| | 01:28 | taking effect yet because we just
replaced the base color with the first color
| | 01:32 | inside the Madras group.
| | 01:33 | But now if I go and grab my Eyedropper
and I click let's say inside this blue here,
| | 01:38 | that becomes the base color for
this group of Madras colors and now the
| | 01:45 | Madras rule remains in force and these are
the colors that we end up getting as a result.
| | 01:50 | Now things can become very weird
indeed if you select a very large group.
| | 01:55 | For example, this group here, the
Ince collection that we created from the
| | 02:00 | original stripes inside of this illustration.
| | 02:03 | If I click on it, it becomes a
ginormious Harmony Rule, as we can see right
| | 02:07 | there, and as soon as I assign this as a
base color why then we get all sorts of
| | 02:12 | spin-offs as a result and
that remains the rule in force.
| | 02:16 | So, we don't switch back to some other rule.
| | 02:18 | We keep this rule going, which
can actually be really great.
| | 02:21 | That means then I could say well this
color is going to be assigned to this
| | 02:25 | strip instead and you know what?
I am going to grab this color and
| | 02:27 | assign it to this stripe and I think
things are starting to shape up here
| | 02:31 | inside of this Illustration.
| | 02:33 | Not that they didn't look really,
really great before, but given that I am
| | 02:37 | trying to switch out the colors
assigned to the stripes in the background,
| | 02:40 | I am starting to feel pretty good about things.
| | 02:42 | Now, if you decide the Ince collection
is not a rule that you want to subscribe
| | 02:46 | to any longer, then you can
go ahead and switch it out.
| | 02:49 | Either for a different group, if
you like. Just go ahead and click on
| | 02:52 | Russian Poster Art #9 for example and
make that your group and then go ahead
| | 02:57 | and click on this base color again to reassign
| | 02:59 | that as the base color for this new
Harmony Rule or choose a different Harmony
| | 03:04 | Rule from the Harmony Rules popup menu.
| | 03:07 | And in my case, I might go with
something like Compound 2, looks pretty good
| | 03:12 | for me, and then I could grab a color
like this one right here and I could drop
| | 03:17 | into this position in order to
replace that color or I might decide nah,
| | 03:22 | I don't want that one.
| | 03:23 | I will go ahead and put it in
this location instead, right there.
| | 03:27 | That looks pretty nice and so on.
| | 03:29 | So, you get a sense of what's going on.
| | 03:31 | Any group inside of the Swatches
palette can become a rule just by clicking on it
| | 03:37 | and checking out the result
there inside the Color Guide palette.
| | Collapse this transcript |
| Adding and deleting swatches in a group| 00:01 | In this exercise, I am going to show
you how to modify the contents of a color
| | 00:05 | group here inside the Swatches palette,
how to delete colors from a group and
| | 00:09 | add other colors in.
| | 00:10 | I am working inside of a document
called Stripe changes.ai, which is found
| | 00:14 | inside of the 20 live color folder and
this is that same floral ornament file
| | 00:20 | subject to the changes that we have made so far.
| | 00:23 | Now consider the Ince collection that is
included here inside the Swatches palette.
| | 00:27 | It used to represent the colors of
all of the stripes in the background of
| | 00:32 | this artwork, but it no longer does.
| | 00:33 | I have changed out a total of five
colors inside of this background art and
| | 00:39 | I have not changed out a single one of the
swatches inside of the Ince collection group.
| | 00:44 | So there is four swatches going unused
and there is four colors that don't have
| | 00:48 | swatches associated with them.
| | 00:50 | What do we do about that?
| | 00:52 | Well, the first thing we do is let's
give over more room to the Swatches
| | 00:55 | palette so that we can really see
what is going on by dragging down this
| | 00:59 | horizontal bar here.
| | 01:01 | And then I am going to go over to the
Swatches palette menu and choose an oldie
| | 01:04 | but goodie, Select All Unused, which
selects all of the colors in the Swatches
| | 01:09 | palette that are not used
inside the illustration.
| | 01:12 | But here is the problem.
| | 01:13 | It selects all of the colors
throughout the Swatches palette that aren't used
| | 01:17 | in the illustration.
| | 01:18 | The only colors that we are concerned
about are those four colors that show up
| | 01:23 | inside of the Ince collection, right here.
| | 01:26 | If we started throwing away other
colors inside of our Swatches palette, we are
| | 01:29 | going to lose an awful lot of colors, aren't we?
| | 01:32 | So there is not a way to find the intersection.
| | 01:34 | That is kind of troubling.
| | 01:36 | You can't just select those unused colors
that are part of this group, for example.
| | 01:41 | Instead, you've got to say, okay, duly noted.
| | 01:44 | It is that blue there, that blue there,
that sort of pinkish color and that
| | 01:48 | orange color there, good.
| | 01:50 | I will click off the colors in order to
deselect everybody, then I will click on
| | 01:54 | this one, Ctrl+Click here, Ctrl+
Click on this color as I recall and then
| | 01:59 | Ctrl+Click this one as well.
| | 02:01 | If you are working on a Macintosh side
of things, then you Command+Click on each
| | 02:05 | one of these non-adjacent colors to select them.
| | 02:09 | And then to get them out of the group,
you could drag them into the trash can,
| | 02:13 | by the way, in order to throw them away
and totally get rid of them or I will go
| | 02:18 | ahead and undo that modification,
which of course de-selects everything.
| | 02:21 | So, Ctrl+Click or Command+Click on each
one of those colors again or you could
| | 02:26 | just go ahead and drag them down like this.
| | 02:29 | Notice when you drag down at a
certain point, you will see a heavy outline
| | 02:33 | around the entire interior of the
Swatches palette and then when you release,
| | 02:39 | you go ahead and add those colors up here.
| | 02:42 | In other words, you remove them from
the group and they become loose colors
| | 02:45 | at the top of the Swatches
palette and that's how you work.
| | 02:49 | I think that is the better way to work
actually, because that way you still keep
| | 02:52 | these colors around in case you
ever want to come back to them.
| | 02:55 | But you, of course, ostracize from the Ince
collection folder, which is what you want to do.
| | 03:00 | All right.
| | 03:02 | Now I will make one other comment at this point.
| | 03:03 | You might say, "Well gosh, Deke.
| | 03:05 | Couldn't you just double-click on the folder
and open it up inside of a separate palette?"
| | 03:10 | No. You can't do that.
| | 03:11 | That's not the way that these
folders work inside of Illustrator.
| | 03:16 | That is not to say, however, that you
can't double-click on a folder. You can.
| | 03:20 | It is just that it produces a very
different result and that result just happens
| | 03:24 | to be the topic of the very next exercise.
| | Collapse this transcript |
| Using the Live Color dialog box| 00:01 | As I was saying in the live action head
at the outset of this chapter, Live Color
| | 00:05 | is Adobe's umbrella term for all
of the new color features inside of
| | 00:10 | Illustrator CS3, but the words Live
Color only appear together at one location
| | 00:15 | inside the software.
| | 00:16 | They are associated with this incredibly
intensely powerful dialog box, that's
| | 00:21 | just bursting at the seams with options.
| | 00:23 | It's one of those features that the
first time you come in contact with it,
| | 00:27 | it can be fairly intimidating actually.
| | 00:29 | If there was no documentation, it
would probably take you months, even as
| | 00:33 | an experienced user, to come to terms with all
the features offered by this one dialog box.
| | 00:39 | Hopefully though, over the course of next
few exercises, I'll get you up and running.
| | 00:43 | I'll get you comfortable and you'll
begin to fall in love with this feature
| | 00:45 | because it really is
incredibly powerful and useful.
| | 00:49 | There are two things you can do
with Live Color, as it turns out.
| | 00:53 | One is you can collectively modify
all of the colors inside of a color
| | 00:57 | group here in the Swatches palette and that's
what we're going to explore in this exercise.
| | 01:02 | And then in the next exercises, we'll
see how you can recolor selected paths
| | 01:06 | inside of your artwork.
| | 01:09 | I am working inside of a
document called Live color.ai.
| | 01:12 | It's another catch-up document. If
you've been keeping up along with me you can
| | 01:15 | stick with your current document.
But this Live color document, so called
| | 01:19 | because we're ready to experience Live Color,
| | 01:21 | is found inside of the 20_Live_Color folder.
| | 01:25 | Now let's go ahead and modify one of
the color groups inside of the Swatches
| | 01:29 | palette and the one that I want to
work with is this guy right here, Bird of
| | 01:34 | Paradise, and to open it up inside of
the Live Color dialog box all you have to
| | 01:39 | do is double-click on
the folder and there it is.
| | 01:42 | Here is our Live Color dialog box.
| | 01:44 | If it seems familiar, well it
should be because it's right out of the
| | 01:49 | Kuler website, is it not?
| | 01:51 | We are seeing our familiar Hue color
wheel right here and our Luminance slider bar
| | 01:56 | down here at the bottom.
| | 01:58 | So what you do, if you want to increase
the saturation of your colors, drag them
| | 02:03 | out toward the far edges of the Hue wheel.
| | 02:05 | If you want to decrease the
saturation to make the colors more drab or more
| | 02:09 | pale, then you drag them
toward the center of the circle.
| | 02:13 | If you want to change the Hue values,
then you rotate the colors around the
| | 02:17 | perimeter of the Hue wheel and then if
you want to change their brightness you
| | 02:22 | go ahead and drag this Luminance ladder
right here to increase the brightness or
| | 02:26 | to decrease the brightness, either way.
| | 02:29 | Now, notice this whole time that all
of the colors are moving around together
| | 02:32 | and that's because they are
subscribing to the original harmony as defined by
| | 02:39 | the Bird of Paradise group.
| | 02:41 | Whatever harmony was used to create
that Bird of Paradise group in the first
| | 02:44 | place remains in force.
| | 02:46 | It's basically what it comes down to and it
may not even be a harmony rule that has a name.
| | 02:50 | It may have arisen out of some freeform
harmony, but now it's definitely locked in place.
| | 02:55 | Now, if you want to unlock the
harmony so that you can move these colors
| | 03:00 | independently of each other, well
then you come down to this little Link
| | 03:04 | icon and turn it off.
| | 03:05 | Go ahead and break the link by
clicking on it and notice you will now get a
| | 03:09 | broken link and now you can move
any one of these colors independently.
| | 03:13 | Now I am currently moving the base color.
| | 03:15 | Base color is the biggest color
with the heavy outline around it.
| | 03:18 | But you can move one of the sheep
color too, the colors that are normally
| | 03:23 | based on the base color.
| | 03:24 | You can move them around
as well, if you want to.
| | 03:27 | Once you get the colors placed
relative to each other so that you have
| | 03:33 | established a new harmony rule then
you can link them up again by clicking on
| | 03:37 | the Link icon and drag them around
some more in order to change those colors.
| | 03:42 | Some other ways to work.
| | 03:44 | You can change your Hue/Saturation
and Brightness values down here and any
| | 03:48 | modifications you make will affect all
the colors in kind ,assuming that the
| | 03:52 | Link icon is turned on.
| | 03:54 | You also have the option
of adding colors to a group.
| | 03:58 | You have got this Add Color tool
right here and if you select it and click
| | 04:02 | inside of the color wheel, then
you'll add a color to the group or you can
| | 04:06 | remove a color by grabbing the Remove
Color tool and clicking in order to take a
| | 04:10 | color out of the group.
| | 04:12 | Something else you can do.
| | 04:13 | You can right-click on any one of
these color circles in order to display a
| | 04:18 | reduced version of the Adobe color picker.
| | 04:21 | That's just going to show you
different Brightness and Saturation values that
| | 04:24 | are associated with the active hue.
| | 04:26 | So, you can't change a hue inside of
this interface, but you can change the
| | 04:30 | brightness by going darker, for example,
or you can change the saturation by
| | 04:35 | going more vivid or more drab like so.
| | 04:38 | And notice that I am changing all of the
colors at once because they are linked together.
| | 04:42 | You also have different ways of displaying
the colors here inside of this main edit area.
| | 04:48 | For example, if you don't want to see
smooth color transitions you can display
| | 04:52 | a segmented color wheel, so that you
move between different key colors or you
| | 04:59 | can display color bars like this.
| | 05:01 | You can see your colors as big color bars.
| | 05:03 | Notice that you have this
little icon down at the bottom.
| | 05:06 | If you click on it, you'll bring up once
again that dinky little color picker view.
| | 05:11 | You also have the option, inside of this
view only, inside of the color bar view only,
| | 05:16 | of changing the
order of your colors like so.
| | 05:19 | And we're randomly changing the order,
notice that and finally you can randomly
| | 05:24 | change the saturation and brightness
and this is strictly if you are feeling in
| | 05:29 | a freeform experimentation mode.
| | 05:31 | If you just kind of want to have fun with
your colors and try some other stuff out.
| | 05:35 | If you do that however, notice that
you may end up upsetting your color
| | 05:39 | harmony as a result.
| | 05:41 | So, it's just something to
bear in mind. All right.
| | 05:43 | I am going to go back to the smooth
color wheel where I am little more
| | 05:46 | comfortable with things.
| | 05:47 | Now notice that at this point you
do have the option of switching to a
| | 05:52 | different color group.
| | 05:53 | The color groups are listed over on
the right hand side of the dialog box.
| | 05:57 | And if you don't see them that's
because you got your drawer closed.
| | 06:01 | This is kind of a storage closet.
| | 06:03 | It's what Adobe calls it and you'll notice
if you move over this icon right there,
| | 06:07 | it says Hide Color group
storage, so this is a storage area.
| | 06:11 | If you click, you hide it.
| | 06:12 | If you click again, you show
it once again. So, it depends.
| | 06:16 | If you want to be able to see the
artwork in the background for example, or if
| | 06:20 | you just want to focus in on
this Live Color dialog box.
| | 06:23 | But you can switch between
different colors, if you want to.
| | 06:26 | You can also twirl open your color
groups in order to see the ingredients of
| | 06:30 | each of the colors inside.
| | 06:32 | So definitely some
interesting options available to you.
| | 06:36 | Now, if you were to say OK, you would
be asked if you wanted to save over the
| | 06:42 | Bird of Paradise group.
| | 06:43 | If you wanted to save your
colors over the colors in that group.
| | 06:46 | And so that is an option and you could
say OK, yes I want to completely change
| | 06:50 | the colors inside of that group.
| | 06:51 | Or you could say let's go ahead and
create a new group based on these colors
| | 06:56 | right here, so that I preserve the Bird
of Paradise group, and I'll go ahead and
| | 07:00 | name this group by double-clicking on it.
| | 07:03 | And I'll call it something like
'My new group' for now because I am not
| | 07:06 | really sure where I am going with
it and then I'll click OK in order to
| | 07:09 | accept that modification.
| | 07:10 | You can also modify the name of your group up
here at the top of the Live Color dialog box.
| | 07:17 | Now I am going to go ahead and click
OK in order to accept that modification.
| | 07:21 | Do I want to save the changes
to my Swatch group, My new group?
| | 07:24 | You betcha, I sure do, so I click on
the Yes button and there it is at the
| | 07:28 | bottom of the Swatches palette.
| | 07:30 | Right ready to go.
| | Collapse this transcript |
| Limiting Live Color to spot colors| 00:01 | In this exercise, I am going to pass
along a little meta-tip that you may find
| | 00:04 | helpful when working with any of the
Live Color features, meaning either the
| | 00:08 | Color Guide palette or Color
Groups or the Live Color dialog box.
| | 00:13 | What you can do is you can limit the
colors that you are working with to a
| | 00:19 | color library, which you might find very
helpful if you primarily work with spot colors.
| | 00:25 | So you can limit anything that you
see inside the Color Guide palette,
| | 00:28 | anything that you are working with
inside of a color group, or anything that
| | 00:31 | you are seeing inside the Live Color
dialog box to just spot colors, for
| | 00:36 | example, and I will show you how.
| | 00:39 | First, notice by the way, that any time
that you have a color group selected in
| | 00:44 | the Swatches palette, or any time you
are working with anything inside the
| | 00:47 | Color Guide palette, that you have
this little colorful icon at the bottom of
| | 00:51 | the palette, and either of those colorful
icons will take you to the Live Color feature.
| | 00:56 | So I am going to go ahead and select
My new group that I just created in the
| | 01:00 | previous exercise, and I am going to go
ahead and open up the Live Color feature
| | 01:05 | by either clicking here or by clicking
here, either one is going to work,
| | 01:09 | just as I could of course
double-click on the folder.
| | 01:13 | So any of those are options
for bringing up this dialog box.
| | 01:17 | Then let's say that I want to limit
My new group just to spot colors inside
| | 01:22 | of the Pantone color library.
| | 01:24 | Then I would go down to little icon
right there, which as you can see, it limits
| | 01:29 | the colors to a group in any
color swatch library you choose.
| | 01:32 | I will go ahead and click on it and
then I will select Color Books, which aren't
| | 01:37 | coloring books. They bring up of course
official color books that are out there,
| | 01:41 | commercial color standards.
| | 01:43 | And I will now choose this guy right
there, PANTONE solid coated ,and that goes in
| | 01:48 | and switches out the color wheel to
just those colors that fall inside of the
| | 01:53 | thousand or so colors inside
the PANTONE solid coated library.
| | 01:57 | And you can see now that we have busted
up the wheel into those increments, and
| | 02:01 | we can now drag the colors around to
whichever colors visually serve our
| | 02:05 | purposes, and then go ahead and click
OK in order to change out your group.
| | 02:10 | And when asked if you want to switch
out the colors inside of your group,
| | 02:13 | go ahead and click Yes in order to save
those changes and now you will see little
| | 02:17 | white triangles with dots inside of
them in the lower right corners of each of
| | 02:22 | your swatches, thereby indicating
that you are working with spot colors.
| | 02:25 | Notice also that all of the colors
inside of the Color Guide palette are
| | 02:29 | showing up as spot colors as well, and
notice furthermore, the appearance of
| | 02:33 | this tiny little icon, that exact same icon
that we saw inside of the Live Color dialog box.
| | 02:40 | If you no longer want to limit
yourself to colors inside of the PANTONE solid
| | 02:44 | coated book, then go ahead and
click on this icon, and choose the None
| | 02:48 | command, and that will turn off that
constraint, but notice that your color
| | 02:53 | group says the same.
| | 02:55 | It remains a spot color group.
| | 02:58 | In the next exercise, I am going to
show you how to modify the colors inside of
| | 03:02 | your artwork using the Live Color feature.
| | Collapse this transcript |
| Recoloring selected artwork| 00:01 | Now I am looking at another illustration
by iStockphoto.com's Bulent Ince and this
| | 00:06 | one goes by the name of Stock footage.ai.
| | 00:11 | It's found inside the 20 Live
Color document and just look at this
| | 00:16 | illustration for a moment and imagine
what it would take if you decided you
| | 00:21 | wanted to whole-hog replace the color scheme of
this graphic in older versions of illustration?
| | 00:28 | If you decided that you are not only
going to want to change out the colors of
| | 00:32 | all the colorful items, but you might
want to go in and assign colors to the
| | 00:36 | various gray items inside
of this illustration as well.
| | 00:40 | Even if you manage to select all of the
items that have the same fill and stroke
| | 00:44 | attributes and all that stuff, even
though some objects are filled and some
| | 00:48 | objects are stroked and all those problems,
| | 00:51 | you are still going to have to manually dial
in your colors inside of the Color palette.
| | 00:56 | Oh, my gosh!
| | 00:58 | And just when you are faced with that
harrowing task, you just sit there and
| | 01:02 | pause for like ten minutes trying to
figure out how you are going to approach
| | 01:05 | the darn thing because you know as
soon as you start, you walked off the edge
| | 01:11 | of the cliff, right?
| | 01:12 | And you have really wandered down the
road that you are going to spend the next
| | 01:16 | hour wandering down
before you are completely done.
| | 01:19 | That is gone with Live Color.
| | 01:22 | That's totally over with.
| | 01:24 | Let me show you what I mean.
| | 01:26 | The first thing I am going to have you
do is let's go ahead and import some more
| | 01:30 | swatches into this illustration,
because I don't have any groups really going.
| | 01:34 | This is just the core swatches that are
included with a base CMYK illustration
| | 01:40 | inside of the Illustrator CS3.
| | 01:43 | I want to gain access to all of those
great groups that we have been working on
| | 01:47 | throughout this chapter.
| | 01:48 | So we are going actually load that last
document as a color library, and let me
| | 01:52 | show you how you do that.
| | 01:53 | Go ahead and click on this bottom left
icon here in the Swatches palette and
| | 01:57 | then I want you to choose Other
Library and then go ahead and find your
| | 02:02 | Exercise Files folder.
| | 02:04 | That's mostly likely on your Desktop or
wherever else you put it and then find
| | 02:09 | the 20 Live Color folder inside of
there and then I want you to go ahead and
| | 02:13 | load this file, Live Color.ai,
and click on the Open button.
| | 02:17 | And you will now see all of the swatches
that are found inside of the Live Color
| | 02:21 | document represented right here.
| | 02:24 | And now I want you to go ahead and grab
these various color groups and drag them
| | 02:28 | over into the Swatches palette, or
notice you can just click on a color group
| | 02:34 | inside of the Live Color palette and
it will be added to the Swatches palette.
| | 02:38 | So, I will just do that over and
over again until I have added all of the
| | 02:44 | color groups to my Swatches palette and then
I will go ahead and close out these palettes.
| | 02:48 | Now we are ready to recolor this artwork.
| | 02:51 | I want you to press Ctrl+A or Command+A
on the Mac in order to select all of the
| | 02:55 | objects inside of this illustration.
| | 02:57 | Then you might want to press Ctrl+H or
Command+H in order hide those selection edges.
| | 03:02 | Notice up here inside of the Control
palette, you have a Recolor Artwork button,
| | 03:07 | which bears the familiar Live Color
insignia, so go ahead and click on it in
| | 03:12 | order to bring up the Live Color dialog box.
| | 03:14 | There are two different ways to recolor artwork.
| | 03:17 | One is to work inside of the Assign panel and
then other is to work inside of the Edit panel.
| | 03:23 | The Assign panel comes up by default,
but it's easier to work with the Edit panel,
| | 03:27 | given what we know so far.
| | 03:29 | So, we will start with the Edit panel
inside of this exercise and then we will
| | 03:32 | move to the Assign panel in the next exercise.
| | 03:35 | But before you move away from Assign,
there is one thing you need to decide.
| | 03:39 | You need to decide right here before
you move on to Edit whether you want
| | 03:43 | to edit black or not.
| | 03:45 | If think you want to edit the color
currently assigned to black then you need to
| | 03:50 | go to this icon right there,
the Color Reduction Options icon.
| | 03:54 | Click on it and then turn off
Preserve Black. Turn off the Black checkbox.
| | 04:00 | I am going to suggest we leave it on,
but I just want to tell you that because
| | 04:04 | if later you have applied a million
different color edits and then you think,
| | 04:07 | oh, I need to recolor black as well and
you come back here and you turn off the
| | 04:12 | Black checkbox, by then Illustrator
is going to return you to your original
| | 04:16 | colors and you are going to lose all your work.
| | 04:18 | So, it's kind of a pain in the neck.
| | 04:19 | So, you should know about it now.
| | 04:21 | Anyway, I am going to cancel out as I said.
| | 04:23 | We are going to leave black and white alone.
| | 04:25 | I am going to go ahead and click on Edit
and we are now seeing all of the colors
| | 04:29 | inside of the illustration,
and I keep moving things over.
| | 04:32 | I might as well just go ahead and
collapse that storage area and then move
| | 04:35 | my dialog box over.
| | 04:37 | Notice that the colors are not
linked with each other right now.
| | 04:40 | So if you want to link the colors
together, then go ahead and click on the chain
| | 04:44 | icon to link everything up and then
drag the colors around in order to modify
| | 04:49 | the Hue and Saturation values of all
colors together as I am doing here.
| | 04:54 | Now possibly that's not the way you
want to work, and frankly even though it's
| | 04:58 | tempting to work that way, that's
not the most powerful way to work.
| | 05:01 | The most powerful way to work is to
unlink your colors and just go for it, and
| | 05:06 | imagine, I mean, basically that's
what you were doing in the old days.
| | 05:09 | It was just that going for
it involved so much labor.
| | 05:12 | Now going for it is so darn easy.
| | 05:14 | You can just say, you know what, I want
this color to be sort of redder and keep
| | 05:19 | it nice and vivid and bright, but
let's take the luminance down a little bit.
| | 05:22 | But now if you do that, if you adjust
the luminance here, you are going to
| | 05:26 | affect the luminance of all the
colors inside the illustration.
| | 05:29 | If you want to modify just the
luminance of the active color right there then
| | 05:34 | make sure your colors are set to CMYK
and then add some K to the mix, add some
| | 05:39 | black to the mix in order to darken that
color up and you will be able to modify
| | 05:43 | that color independently of the others.
| | 05:45 | Then edit the other colors as you see fit.
| | 05:48 | So, you can really send
them wherever you want to.
| | 05:51 | Another thing you can do by the
way is you can grab your grays.
| | 05:54 | So for example if you want a modify the
grays inside of your illustration,
| | 05:58 | you can go ahead and click on a gray up
here inside of this bar, which represents
| | 06:04 | the harmony rule, the harmony rule
that's in force for this document which is
| | 06:08 | quite an elaborate harmony rule of
course, since we are just grabbing colors
| | 06:12 | that already existed.
| | 06:13 | I will go ahead and grab that gray.
| | 06:15 | It's somewhere in the center of this mix here.
| | 06:18 | So, I am not going to try to drag it
out from the edge, because I'd probably end
| | 06:21 | up selecting a different color.
| | 06:23 | Instead, I will just go ahead and
take some of the black out of it, here in
| | 06:28 | the CMYK values and I might even go ahead
and switch to something like the HSB sliders.
| | 06:33 | I can modify the Hue, Saturation, and
Brightness of this color and I will go
| | 06:36 | ahead and boost the Saturation in order
to add some color, whatever color it is,
| | 06:42 | to this background art.
| | 06:45 | And then I will go ahead and drag the
color around to a different location in
| | 06:49 | order to fill it with red for
example to make it nice and blood red.
| | 06:53 | All right, so let's try this
with a few other grays as well.
| | 06:56 | We will increase the Saturation of
these gray items along the bottom of the
| | 07:00 | illustration and make them
really, really vivid red.
| | 07:04 | And actually, I think I might want to
darken them up as well, and I am going to
| | 07:07 | do that by dragging the B value,
by reducing the B value here, B for Brightness.
| | 07:13 | And anyway, I pretty much like the
result I have come up with it at this point.
| | 07:18 | I can go ahead and save this out as a
color group if I wanted to, but all I
| | 07:22 | really want to do is modify
the colors inside of my artwork.
| | 07:25 | So, I am going to click OK in
order to accept those modifications.
| | 07:29 | I have successfully re-colored my artwork
that quickly with no upfront anxiety at all.
| | 07:36 | Thanks to the Live Color
feature here inside Illustrator CS3.
| | Collapse this transcript |
| Reassigning colors in an illustration| 00:01 | In this exercise, I am going to show
you not only how to re-map colors using a
| | 00:05 | different system inside of the Live
Color palette, but also how to reduce the
| | 00:09 | number of colors inside of your illustration.
| | 00:12 | I am now looking at the re-colored
graphic that I created in the previous exercise.
| | 00:17 | If you want to catch up with me, I
am working inside of a document called
| | 00:20 | Recolored artwork.ai that's found
inside the 20 Live Color folder.
| | 00:25 | Go ahead and select the entire
document by pressing Ctrl+A, or Command+A on
| | 00:29 | the Mac and then press Ctrl+H, or
Command+H on the Mac in order to hide those
| | 00:33 | selection outlines.
| | 00:34 | I have already done both of those operations.
| | 00:38 | Then go ahead and click on the Recolor
Artwork button here inside of the Control
| | 00:42 | palette in order to open
the Live Color dialog box.
| | 00:46 | Now you should find yourself inside of
the Assign panel automatically this time
| | 00:50 | around, and we are going to
be assigning different colors.
| | 00:53 | We are basically going to be replacing
colors inside of our artwork and you can
| | 00:58 | do that in one of two ways.
| | 01:00 | If you want to switch to a different
color group, then you can choose that group,
| | 01:03 | you can select that group, from
this Group Storage area over on the right
| | 01:08 | side of the dialog box and again, if
you can't see those color groups, then you
| | 01:12 | need to go ahead and
expand your dialog box, like so.
| | 01:15 | You can try different color groups as
well, if you want to get different effects.
| | 01:20 | You can randomly vary the order in
which the colors get mapped by clicking on
| | 01:24 | this Randomly change color order button
down here, and keep trying it out until
| | 01:29 | you get something that you like.
| | 01:30 | Very likely you won't get anything
that you like out of these controls here,
| | 01:35 | because mapping to a specific color group,
in our case, isn't going to work outsoas well.
| | 01:39 | You can keep trying if you want to,
but eventually, I think there is a
| | 01:42 | better way to work.
| | 01:44 | If you find that you have made a mess
of the colors inside of your artwork and
| | 01:47 | you want to bring back the original
colors, then click on this icon right there.
| | 01:50 | It gets colors from the selected art
and reestablishes the color scheme of the
| | 01:55 | original graphic, which is a good thing for us.
| | 01:58 | Another option is to change your
harmony rule up here at the top of the dialog box
| | 02:03 | and you can say, instead of using
this completely arbitrary harmony rule
| | 02:06 | that we are subscribing to right now,
I am going to switch to High Contrast like so
| | 02:11 | and try to see how the colors
might re-map inside of my illustration.
| | 02:17 | And then you can try your hand at moving
the colors around and so forth, as I am
| | 02:21 | about to show you, or you
can just do it manually.
| | 02:25 | And the manual approach is going to be
the best approach for this artwork and
| | 02:29 | it's going to permit me to teach
you the most information as well.
| | 02:33 | We are going to get the biggest
learning experience out of the deal.
| | 02:37 | So I am going to click once again on
this Get colors from selected art button,
| | 02:40 | and now let's proceed to merge
some colors together manually.
| | 02:45 | Now you can go to this little Colors
pop-up menu here and you can click and
| | 02:49 | choose the number of
colors that you want to use.
| | 02:51 | For example, you could say I definitely
want to reduce the numbers of colors in
| | 02:54 | my document to five colors and no more and
then it will go ahead and do that for you.
| | 02:59 | But again, that's not the way I want to work.
| | 03:01 | It comes up with some colors that I
don't think I would really choose under
| | 03:04 | normal circumstances.
| | 03:06 | So, I will go ahead and undo that
modification by clicking on this button again.
| | 03:10 | Here is the better way so far as I am concerned.
| | 03:12 | Go ahead and click on one color and
then Shift+Click on the color that's very
| | 03:17 | similar to it and you need to make sure
that you are clicking and Shift+Clicking
| | 03:21 | under the Current Colors head right here.
| | 03:23 | Notice that we are told we have got 15
colors currently and that's the area that
| | 03:28 | you want to click and Shift+Click under.
| | 03:29 | It doesn't work in this New
column, just so as you know.
| | 03:33 | And then go ahead and click on this
Merge colors into a row icon right there
| | 03:38 | in order to merge those colors
together and then I want you to click and
| | 03:42 | Shift+Click on each of the orange
colors here and merge those together as well.
| | 03:48 | And then let's go ahead and grab all
of the greens and blues and merge them
| | 03:52 | together, and next I am going to go
ahead and grab this magenta color and this
| | 03:57 | red color, merge them and finally if I
can find them I will go ahead and grab
| | 04:01 | the gray colors and merge those
two colors together. All right.
| | 04:04 | Let's move down the list here.
| | 04:06 | Now, what if you find that you really
don't want to merge your red and magenta
| | 04:11 | colors into magenta?
| | 04:12 | You would rather merge them into this red.
| | 04:15 | Why, then just go ahead and drag the red
on to the magenta in order to switch them.
| | 04:19 | So, drag and drop in order
to swap those two colors.
| | 04:22 | Same would go for the gray,
if that's what you want to do.
| | 04:24 | In my case, I think the
grays work out very nicely.
| | 04:27 | I also think you can experiment with
the blues, but I happen to like mapping
| | 04:31 | all of these colors to this sort of strange
chartreuse mustard color that we have going here.
| | 04:38 | And you can also experiment
with the different orange.
| | 04:40 | I happen to like this orange
better than this orange right there.
| | 04:43 | So, I will go ahead and swap them out
and I think we might be able to see the
| | 04:46 | detail if we're working
with the lighter brown as well.
| | 04:49 | So I will go ahead and
bring out the detail, like so.
| | 04:51 | But if I do that, I can see the
background better, but the foreground details
| | 04:55 | don't have quite the same impact.
| | 04:57 | So, I will go ahead and move that
dark brown back into position, like
| | 05:00 | we are seeing it there.
| | 05:02 | A few other things you might want to know about.
| | 05:04 | You can find colors inside of
your illustration by clicking on this
| | 05:09 | magnifying glass and as soon as you
do that, it invites you to go ahead and
| | 05:13 | click on a color inside of your list
here in order to find that color inside
| | 05:17 | of the illustration.
| | 05:18 | So, for example, if I click on this
orange color, I will see exactly where it is,
| | 05:23 | to what objects it's been applied,
and if I click on this orange color,
| | 05:26 | I will see that it's been applied to the
circles here in this sort of splatter
| | 05:30 | effect right there and so on.
| | 05:32 | When you have located the colors, you
want to locate, then go ahead and turn the
| | 05:35 | feature off in order to return to the
full color view of your illustration.
| | 05:40 | I am going to go ahead and close that
storage bin there, so that we can see what
| | 05:44 | we are doing a little better on screen.
| | 05:46 | Now if you want to do kind of a before
and an after view so you can see what
| | 05:49 | your artwork looked like before
compared to the way it looks now, then turn off
| | 05:53 | the Recolor Art checkbox.
| | 05:55 | It serves as kind of a preview checkbox.
| | 05:57 | So, if you turn it off,
you can see your original artwork.
| | 06:01 | If you turn it back on, then you can
see the modified version of your artwork.
| | 06:05 | Just make sure that you turn it on
before you click OK, if indeed you want to
| | 06:10 | recolor the selected paths inside
of your illustration. We are done.
| | 06:14 | Now I am going to go ahead and click
on the OK button in order to apply my
| | 06:18 | changes and this is the
result that I come up with.
| | 06:22 | I think it looks actually really great.
| | 06:24 | So again, we can compare the before and after.
| | 06:26 | This is what it looked
like when we first started.
| | 06:28 | This is what it looks like now.
| | 06:30 | It's a lower color document, but I
think it looks just absolutely great.
| | 06:35 | In the next and final exercise, I am
going to show you how to reduce the number
| | 06:40 | of your colors to an absolute
minimum if you are going to spot colors.
| | Collapse this transcript |
| Distilling the perfect two-color print job| 00:01 | In this exercise, I am going to show
you how to boil down a piece of artwork
| | 00:04 | into a spot color printing job and
what we are going to do with this graphic,
| | 00:08 | we are going to take it down to just two
colors, black and a spot color, and that's it.
| | 00:14 | And we are still going to maintain
all of the variety of shades in between.
| | 00:19 | So here is what I want you to do.
| | 00:21 | Let's start by making the filmstrip
in the background a little brighter.
| | 00:26 | So I am going to press Ctrl+A or
Command+A on the Mac in order to select all of
| | 00:30 | the objects inside of this
illustration and I have already turned off my
| | 00:35 | selection outlines by pressing Ctrl+H,
or Command+H on the Mac, so that's why
| | 00:38 | we are not seeing them.
| | 00:39 | And by the way, I am working inside of a
document called Low color art.ai, found
| | 00:45 | inside the 20 Live Color folder.
| | 00:47 | Now, with those objects selected, let's
go ahead and make a new color group and
| | 00:52 | I am going to call this one
footage or something along those lines.
| | 00:55 | I am going to work from the selected artwork.
| | 00:57 | I am going to go ahead and leave both of
these checkboxes turned as well so that
| | 01:01 | I have global control, because I am
going to want to change that color that's
| | 01:06 | assigned to that background red.
| | 01:09 | And I will click OK in order
to accept that modification.
| | 01:12 | Now it's very important that you press
Ctrl+Shift+A, or Command+Shift+A on the Mac
| | 01:16 | to deselect your artwork so that
you can make the next modification without
| | 01:21 | re-coloring everything.
| | 01:22 | Now we want to change this
color swatch right there.
| | 01:25 | So double-click on it in order to select
it and I am going to switch to the CMYK mode
| | 01:31 | and turn on the Preview checkbox so
I can keep track of what I am doing and
| | 01:36 | I want to keep the color pretty dark and rich.
| | 01:38 | So, I am going to reduce the amount
of cyan inside of this color to about
| | 01:43 | this point right here.
| | 01:44 | So, the foreground still stands
out very nicely but we can see the
| | 01:47 | background better as well.
| | 01:49 | We are not totally losing it and I will
click OK in order to accept that modification.
| | 01:53 | All right.
| | 01:54 | We are now ready to recolor the artwork,
so press Ctrl+A, or Command+A on the Mac
| | 01:58 | once again in order to select each
and every one of the paths and then I
| | 02:03 | want you to click on the Recolor
Artwork button and you can see that we have
| | 02:08 | already boiled this artwork
down to just seven colors.
| | 02:11 | That's all we have got
left, folks. Just seven colors.
| | 02:14 | Isn't that excellent?
| | 02:15 | Go to the Preset menu right here and
change it from Custom to 2 color job.
| | 02:20 | We are just going to go down to our
basic two-color, very inexpensive print
| | 02:24 | job and Illustrator asks us, "Hey do
you want to work from a color library?"
| | 02:29 | and I say "Absolutely."
| | 02:30 | I don't know if you can see that but there is
that dinky little Limitation icon right there.
| | 02:35 | I will go ahead and click on it and
I will choose PANTONE solid coated,
| | 02:40 | pretty standard library for spot colors
of course, and then I will click OK
| | 02:44 | and at this point Illustrator is going
to automatically determine which spot
| | 02:48 | color it should use.
| | 02:49 | Now, of course it's going to get it wrong.
| | 02:51 | How could it possibly get it right,
in a library that includes more than
| | 02:55 | a thousand spot colors?
| | 02:56 | I don't think it's going to get it
right off the bat, and sure enough, it doesn't.
| | 03:00 | So if you want to change that spot color,
don't start hacking at these HSB values.
| | 03:06 | Instead, go ahead and double-click on
that Destination Color icon right there in
| | 03:10 | order to display the Color Swatches
dialog box and I am going to move down until
| | 03:16 | I find a sort of an orange-ish red here.
| | 03:20 | I think that's going to be
farther up the list. There we go.
| | 03:22 | Some place right in there and I am
going to select this guy, PANTONE 1807, and
| | 03:27 | I am going to click OK in order to apply
that modification and we end up getting
| | 03:32 | this result right here.
| | 03:34 | Is that not amazing, that you can distill
colors like that inside of Illustrator CS3?
| | 03:41 | Again, this is the kind of thing, back
in the days when I used to do spot color
| | 03:45 | printing for a living, this is the kind of
thing I would have given an awful lot for.
| | 03:51 | Anyway, I am done with this dialog box.
| | 03:53 | I am going to go ahead and click on
OK in order to accept my modifications.
| | 03:57 | We have seen the world of Live Color
inside of Adobe Illustrator CS3 and it is
| | 04:03 | an amazing feature, I have to tell you.
| | 04:06 | Definitely experiment some more.
| | 04:08 | There is still stuff to discover,
but you have got a lot of essential
| | 04:11 | information and some
advanced techniques under your belt.
| | 04:16 | Go forth and prosper.
| | Collapse this transcript |
|
|
21. Using SymbolsRepeat, amend, amass| 00:00 | Portability is becoming an
increasingly prevalent guiding principle.
| | 00:03 | The idea is while you may be creating
your artwork for print today, there is no
| | 00:07 | predicting where it's going tomorrow.
| | 00:09 | It might be bound for the web and
if so, it might be bound for Flash.
| | 00:13 | When you are going to the web,
file size is always a big consideration.
| | 00:17 | So let's imagine you repeat
an object in your illustration.
| | 00:20 | The object takes up 20k of file size.
| | 00:23 | Two versions of the object take up 40k.
| | 00:25 | That's where symbols come in.
| | 00:27 | When symbols first hit Illustrator,
they were all about saving file size.
| | 00:30 | Create one 20k object, repeat it. It's still 20k.
| | 00:34 | Make 13 copies of it, 20k.
| | 00:36 | Repeat it as many times as you
like, it's still this 20k element.
| | 00:40 | Now that Illustrator's integration
with Flash is even tighter than in the
| | 00:43 | old days, symbols are
more useful than ever before.
| | 00:46 | In fact, I would go so far to say any
time you repeat an object you should first
| | 00:51 | convert it to a symbol.
| | 00:52 | That will keep your web
files their absolute smallest.
| | 00:56 | But what if, despite your careful
planning, your document never makes it to the web?
| | 01:00 | Are all your symbols
for naught? Absolutely not.
| | 01:04 | Symbols provide their own
intrinsic value, Flash or no Flash.
| | 01:08 | For starters, all instances, that is
all copies of the symbol, are linked to a
| | 01:13 | single piece of artwork in the Symbols palette.
| | 01:16 | Change that one piece of artwork
and all instances update in kind.
| | 01:20 | Second, in Illustrator CS3 you can edit as
a symbol directly in the Symbols palette.
| | 01:25 | Just double-click on the Symbol icon
to enter an isolated Symbol Edit mode.
| | 01:29 | Make your changes, exit the isolation mode,
and all occurrences of that symbol update.
| | 01:34 | It's that easy.
| | 01:36 | Third, you can use the Symbol Sprayer tool to
paint a pattern of symbols in one brush stroke.
| | 01:41 | That may seem trivial, but it can
actually be super useful when laying
| | 01:45 | down background art.
| | 01:47 | All in all, symbols are
your fiercely loyal allies.
| | 01:50 | To learn how to use them,
watch the next videos.
| | Collapse this transcript |
| The power of symbols| 00:00 | Symbols are amazing automation tools,
especially if you find yourself replicating
| | 00:05 | objects over and over again
inside of an illustration.
| | 00:09 | For example, take this real world
map here from the National Park
| | 00:13 | Services Department.
| | 00:14 | It's a map of Yellowstone National Park,
and it's not part of the sample files
| | 00:19 | that I am including for you.
| | 00:20 | It's one of the documents that
actually ships along with the Illustrator CS3
| | 00:24 | inside of that cool Extras folder that
I was telling you about way, way long ago,
| | 00:29 | back in Chapter 1 of this series.
| | 00:32 | Notice that we are seeing a series of
objects repeated over and over again.
| | 00:35 | For example, most obvious in this
section of the map is this picnic table
| | 00:39 | icon that appears eight times
in this region of the map alone.
| | 00:43 | Now let's say that we decide
we want to update this symbol.
| | 00:47 | Fortunately for us, these are all
instances of a single original symbol inside
| | 00:54 | of the Symbols palette.
| | 00:55 | And to see that symbol, go up to the
Window menu and choose the Symbols command,
| | 00:59 | or you can press that keyboard shortcut
Ctrl+Shift+F11 or Command+Shift+F11 on
| | 01:03 | the Mac, and it brings up the
Symbols palette and the Symbols palette is
| | 01:06 | identified by this little club icon
right there, and you can see that we have
| | 01:11 | several symbols that are a part of this
document including the picnic area item.
| | 01:15 | Let's say that we want to update.
We want to make some sort of modification
| | 01:19 | to the picnic table.
| | 01:20 | Why then, just go ahead, and double-
click on the picnic table icon here
| | 01:25 | inside of this Symbols palette in
order to view that symbol by itself, inside
| | 01:31 | of an isolation mode.
| | 01:32 | Notice that we haven't
opened a separate illustration.
| | 01:35 | We are still inside of that same
Yellowstone map illustration, and you can tell
| | 01:39 | that up here in the title bar,
but we are in an isolation mode
| | 01:42 | that, of course, is isolating this
symbol by itself to the exclusion of
| | 01:46 | everything else inside the
document and I can edit this symbol.
| | 01:49 | I can edit this original to which all
those instances, all those icons we saw a
| | 01:54 | moment ago, are linked.
| | 01:56 | And let's say we want to do something
as simple as convert this plain black
| | 02:01 | background to a rich black.
| | 02:03 | Go ahead and grab the White Arrow tool
and then Alt+Click or Option+Click on
| | 02:07 | this border that surround the
picnic table in order to select it.
| | 02:10 | Notice it is set to a plain black.
| | 02:13 | We will go ahead and switch that out
to CMYK here inside of the Color palette
| | 02:17 | and then dial in a rich black.
| | 02:18 | It doesn't have to be
specifically this rich black of course.
| | 02:21 | But this will do. 50, 50, 50 and 100,
and if you want to, you could go ahead and
| | 02:26 | make some other modifications.
| | 02:27 | For example, we could go ahead and
scoot these items out here, these little
| | 02:31 | seats on the picnic table out a little
bit if we wanted to, so just make some
| | 02:34 | sort of minor modifications to the artwork.
| | 02:37 | When you are done, all you need to
do is grab the Black Arrow tool and
| | 02:41 | double-click outside of the picnic
table, like so, in order to leave that
| | 02:46 | isolation mode and just like
that you have updated the symbol.
| | 02:50 | And you can tell, if you look closely
at that symbol here inside the Symbols
| | 02:52 | palette, you can tell that it has a
richer black than the symbols around it, and
| | 02:57 | then I have scooted the seats outward a
little bit, and not coincidently, I have
| | 03:02 | changed every single instance of
this picnic table inside of the map.
| | 03:07 | So, I will go ahead and zoom out so
that we can see what I am talking about.
| | 03:09 | Every picnic table that you see
right here has been updated to match the
| | 03:14 | original symbol there
inside of the Symbols palette.
| | 03:17 | That is the power of symbols
inside of Adobe Illustrator.
| | 03:21 | In the next exercise, we'll get a sense
of what symbols are available to us and
| | 03:25 | what we can do with them.
| | Collapse this transcript |
| Acquiring and previewing symbols| 00:00 | In this exercise, I want to give you a
sense of how you acquire symbols, how you
| | 00:04 | preview them, so that you can see what
they look like, and how you move them
| | 00:08 | from say a Symbol Library into a document.
| | 00:11 | To that end, go ahead and
open this document here.
| | 00:13 | It's called Blankness.ai, found
inside the 21_Symbols Library.
| | 00:18 | On face value, its not have so cool as that
Yellowstone National Park map we saw a moment ago.
| | 00:23 | In fact, it's not even a fraction
as cool, because it is an empty page.
| | 00:27 | But this document, behind the
scenes, contains a lot of stuff.
| | 00:31 | It contains a bunch of
different symbols inside of it.
| | 00:34 | To see what those symbols look like,
go ahead and click on the clubs icon to
| | 00:37 | bring up the Symbols palette, or you can
choose Symbols from the Window menu of course.
| | 00:41 | I am going to make my Symbols palette
as tall as it can be, so that we can see
| | 00:46 | these many symbols that I
have pulled together here.
| | 00:49 | Notice that my Symbols palette is
six thumbnails wide, and that becomes
| | 00:52 | important because that helps us divide
these various groups of palettes into rows.
| | 00:58 | It's not essential that your palette be
arranged that way, of course, but I just
| | 01:02 | want to give you a sense
of what's going on here.
| | 01:03 | For starters, these symbols at the top
of the palette are those that you will
| | 01:07 | see inside of new documents that
you create inside of Illustrator.
| | 01:10 | If you create a new Print document,
you will get these first row of symbols.
| | 01:13 | If you create a new Mobile and Devices
document, you will get the second row.
| | 01:17 | The next row is for Video.
| | 01:19 | The couple of rows after that are
for the Web, and then after that are a
| | 01:22 | bunch of symbols that I have culled
from various libraries that ship along
| | 01:26 | with Illustrator CS3.
| | 01:28 | Now, the thumbnails are quite small,
which I find very frustrating actually.
| | 01:32 | I wish we can make them
bigger inside the Symbols palette.
| | 01:35 | You can't though, and if you check out
the Symbols palette menu, you will see
| | 01:38 | that we already have them maxed out.
| | 01:40 | Thumbnail View is as big as the thumbnails get.
| | 01:42 | The other views include a smaller
thumbnail in the case of Small List View and
| | 01:47 | then the same size thumbnail in the
case of Large List View, along with the
| | 01:50 | names of each of the symbols.
| | 01:53 | So, what do you do if you want to check
out what one of these symbols looks like?
| | 01:56 | Well, you just go ahead and grab it.
| | 01:58 | For example, let's say I want to get a
sense of what this Rocket symbol looks like.
| | 02:01 | I will drag it out of the palette
and drop it into my new document.
| | 02:05 | Then I can move it to a different location.
| | 02:07 | See what it looks like. Fine.
| | 02:09 | So, that's one option.
| | 02:10 | Go ahead and Backspace to get rid of it.
| | 02:12 | Another option is to do what I did in
the previous exercise, which is to just
| | 02:16 | double-click on one of these icons.
| | 02:18 | For example, I am going to go ahead and
double-click on this Television symbol
| | 02:21 | right there, in order to view the
television inside of the isolation mode.
| | 02:28 | Of course, I am still inside of my
Blankness.ai document, but I am viewing
| | 02:33 | this symbol on its own.
| | 02:35 | I could make some modifications to it if
I wanted to, or I can just leave it alone.
| | 02:38 | I can just say, duly noted, I get it.
| | 02:40 | This is one of the
symbols inside of the palette.
| | 02:43 | If I want to check out another symbol,
I don't have to escape and come back.
| | 02:46 | I can just double-click on that symbol
instead and zoom into it or zoom out or
| | 02:51 | whatever I need to do.
| | 02:52 | Once you are done and you want to
return to the document, just go ahead and
| | 02:55 | double-click in an empty area or
click on this upper left arrow.
| | 02:59 | Now, let's say I want to
bring in some other symbols.
| | 03:03 | I don't have quite enough symbols
amassed inside of this document.
| | 03:06 | I want to check out some others.
| | 03:07 | Well, you can load a Symbol Library
that ships along with Illustrator CS3.
| | 03:11 | Go down here to this little icon in the lower
left-hand corner of the palette. Click on it.
| | 03:17 | I suggest we go ahead and choose
Primitive, for now, to bring up this palette of
| | 03:22 | indigenous icons essentially.
| | 03:24 | Now this is a separate Library palette.
| | 03:26 | We have seen those before when we
were looking at Color Swatches and so on
| | 03:29 | in previous chapters.
| | 03:31 | It would be nice now if I could say,
gosh, I want to double-click on Mask 2 in
| | 03:36 | order to check out what it looks like.
| | 03:37 | But that doesn't show me what the
symbol looks like in isolation mode.
| | 03:40 | Instead, it went ahead and added the Mask
2 to my Symbols palette, which is great.
| | 03:45 | Now, if you don't like that, you can
just go ahead and take Mask 2 and throw
| | 03:48 | it in the Trash if you don't want to clutter
your palette with icons that you are not sure of.
| | 03:53 | But at some point, you are going to
want to preview them, and you need to bring
| | 03:56 | them into the Symbols palette to do that.
| | 03:57 | So why don't we go ahead and import a few?
| | 04:00 | The way that you import symbols from a
library, all you've got to do is click on them.
| | 04:04 | That's it. Notice a single click on Antelope,
for example, adds Antelope to my Symbols palette.
| | 04:10 | I will go ahead click on this
like tree of life thing right there.
| | 04:13 | Of course, they are not calling it that.
| | 04:14 | It says Baobob Tree.
| | 04:15 | I will go ahead and click on it to add it.
| | 04:17 | I will click on this Cape
Buffalo as well to add it.
| | 04:20 | Actually, you know what, I like Mask 2.
| | 04:21 | I will add it as well.
| | 04:23 | Maybe Sun and maybe finally I will add a Zebra.
| | 04:26 | Now, to check out what these symbols
look like, let's go ahead and close the
| | 04:30 | Primitive palette for now.
| | 04:32 | Now to check out what one of the
symbols looks like, all you have to do of
| | 04:35 | course is double-click on it, which I am
going to do, and there is Antelope, and
| | 04:39 | there is Baobob Tree right
there, and there is Cape Buffalo.
| | 04:43 | Looks kind of like a little warthog
actually, and then finally there is Mask 2.
| | 04:48 | So we have seen very simply, we have
seen how you can acquire symbols from other
| | 04:52 | libraries, how you move them into your
Symbols palette, and how of course you
| | 04:56 | preview those symbols inside of isolation mode.
| | 04:59 | To save your new symbols as part of the
document, all you have to do is go up to
| | 05:03 | the File menu and choose the
Save command and the deed is done.
| | Collapse this transcript |
| Replicating, editing, and updating symbols| 00:00 | In this exercise, we are going to try
our hand at replicating and modifying
| | 00:04 | and updating a symbol here inside
Illustrator, inside the main
| | 00:08 | illustration window. It's worth noting.
| | 00:10 | I am still working inside the Blankness.ai
file that I opened in the previous exercise.
| | 00:15 | You will find it inside
of the 21_Symbols folder.
| | 00:19 | If you scroll all the way down to the
bottom of the Symbols palette, you will
| | 00:21 | find this guy right here, Tiki Idol.
| | 00:23 | Go ahead and drag it and drop
it into the illustration window.
| | 00:27 | Now, I am going to go ahead and close
the Symbols palette for the moment so
| | 00:30 | that I have a little more room to work.
| | 00:32 | I am going to scale this symbol down
by grabbing my Scale tool, and dragging
| | 00:37 | toward the origin point like so.
| | 00:39 | Then I will go ahead and Ctrl+Drag or Command
+Drag the idol a little higher on the page.
| | 00:43 | I will grab my Rotate tool, click about
here to set an origin point for my rotation.
| | 00:49 | Then I am going to Shift+Drag and
press the Alt key as well, and then drop
| | 00:54 | this idol into place.
| | 00:56 | So that would be Drag, press the Shift
and Option keys on the Macintosh side,
| | 01:00 | and then drop the idol into place in
order to create a duplicate of them.
| | 01:03 | Then I am going to press Ctrl+D or
Command+D on the Mac several times in a row
| | 01:08 | in order to create a circular
sequence of these Tiki Gods right here.
| | 01:13 | Now, I want this central Tiki God to
be bigger and I am considering that I
| | 01:17 | would like to go ahead and edit him as well.
| | 01:19 | So, I am going to bring in.
| | 01:20 | I am going to go ahead and re-bring
this Tiki Idol into my document by going
| | 01:26 | back to the Symbol palette and grabbing
the Tiki Idol, and dropping him into the
| | 01:32 | illustration window right here.
| | 01:33 | I will go ahead and move him up, so
that the top of his head matches the top of
| | 01:38 | the idol in the background.
| | 01:39 | Then I will go ahead and right-click
and select this option, Last Object Below,
| | 01:44 | in order to select that idol in the
background, and I will delete him.
| | 01:48 | The reason I am bringing in a new copy
of the idol is because if I intend to
| | 01:53 | modify the idol here, if I intend to
modify this mask, then I don't want to work
| | 01:58 | from a scaled version of the mask.
| | 01:59 | I want to work from the original,
because every single one of these instances is
| | 02:04 | a scaled version of that original.
| | 02:06 | In other words, if I were to make
this version of the mask smaller and then
| | 02:09 | update the mask, then these guys
would get smaller as well. All right.
| | 02:13 | So, this time let's say that I want to
edit the Tiki mask in the context of my
| | 02:19 | illustration thus far.
| | 02:20 | We have seen how you can go ahead and
just double-click on the Tiki Idol in
| | 02:23 | order to enter this isolation mode.
| | 02:26 | But if you do that, you
have no context whatsoever.
| | 02:28 | It's great in a way, because you can
look at the symbol independently of all the
| | 02:31 | other falderol all inside of your illustration.
| | 02:34 | But if you want to see what's going on
inside your illustration as you edit the
| | 02:37 | Tiki mask, why then this is wrong way to go.
| | 02:39 | I am going to go ahead and double-click
in order to return to my illustration.
| | 02:45 | In order to gain access, editing access
to this symbol, I need to go ahead and
| | 02:49 | select it by clicking on it with my
Black Arrow tool, and then I need to click
| | 02:53 | on this Break Link to Symbol icon down
at the bottom of the Symbols palette.
| | 02:57 | Now, I will go ahead and hide my
Symbols palette again, so that I have once
| | 03:01 | again room to work.
| | 03:03 | What I want to do is I want
to make him smile a little bit.
| | 03:05 | I am going to go ahead and press
Ctrl+H or Command+H on the Mac to hide
| | 03:08 | those selection edges.
| | 03:09 | I want to make him smile sort of
villainously actually, and sort of slant
| | 03:14 | his eyes down as well.
| | 03:16 | So, I am going to go up to the Object
menu, and I am going to choose Envelope
| | 03:19 | Distort, and then I am
going to choose Make with Mesh.
| | 03:22 | It's going to ask me what
kind of mesh I want to make.
| | 03:25 | These settings, 6 rows and 3
columns, works out pretty nicely.
| | 03:28 | I will go ahead and click on OK in
order to accept that modification.
| | 03:31 | Now, we are not seeing the mesh
because I hid the selection edges.
| | 03:34 | So, I will press Ctrl+H or Command+H on
the Mac in order to make that envelope
| | 03:39 | mesh visible on screen.
| | 03:41 | Now, I am going to grab my White Arrow tool.
| | 03:42 | I am going to click on the point that I
want to modify here, and I am going to
| | 03:46 | drag it upward, and then
drag this control handle down.
| | 03:49 | I am going to do this work pretty
quickly here, without narrating too much of
| | 03:53 | what I am doing because we have
been through these features before.
| | 03:55 | I just want to do a standard envelope
style distortion to the mouth of this
| | 04:00 | creature right here, of this guy.
| | 04:02 | Make him look slightly villainous, not
so much villainous, just like crazed,
| | 04:06 | I guess would be a better word for it.
| | 04:08 | He's just having a certain amount of
fun, whether it's good fun or bad fun,
| | 04:12 | totally up to him, I don't know.
| | 04:13 | I will drag these eyebrows down a
little bit as well, drag this edge up and
| | 04:18 | modify these control handles
to where I want them to be.
| | 04:22 | After a little bit of work, I am going
to get something that I sort of like.
| | 04:25 | That isn't exactly it. I want
these eyes to be a little more squished.
| | 04:29 | Actually, I am going to bring down the bottom
of his mouth as well to make his smile bigger.
| | 04:33 | Now, you might say, "Well,
why didn't you just go ahead--"
| | 04:35 | Because I could have worked this way I suppose.
| | 04:37 | "Why didn't you just go ahead and grab
just the mouth area and distort that
| | 04:40 | independently or why didn't you edit
the specific control handles and points
| | 04:45 | that are associated with this object?"
| | 04:47 | The reason is because of the way it's created.
| | 04:49 | It's created in a bunch of little
pieces that just happened to be
| | 04:52 | interacting with each other perfectly
in the first place, but if we were to
| | 04:56 | start dragging the points apart, we
would ruin that illustration pretty quickly.
| | 05:00 | So, the envelope distortion feature
here gives us a lot of flexibility where
| | 05:04 | this particular effect is concerned. All right.
| | 05:06 | I like what I have come up with.
| | 05:08 | I am going to go ahead and switch back
to the Black Arrow tool and click on the mesh,
| | 05:11 | so that I have selected the entire thing.
| | 05:13 | Then I am going to go up to the
Object menu and choose the Expand command
| | 05:17 | in order to expand this envelope style
distortion out into its basic component paths.
| | 05:23 | I do want to expand the object and the fill,
so I will click OK in order to make that occur.
| | 05:28 | Now, let's go ahead and edit the
colors that are associated with this mask.
| | 05:31 | I am going to press Ctrl+H or
Command+H once again in order to hide
| | 05:34 | those selection edges.
| | 05:36 | Let's go ahead and recolor the
artwork by clicking on this Recolor Artwork
| | 05:40 | button up here in the Control palette.
| | 05:42 | I am going to switch over to the Edit panel.
| | 05:45 | I am going to make sure that I have
gotten all the colors from the selected art,
| | 05:48 | which it appear as I have.
| | 05:49 | Let's go ahead and link them together, so that
we can twirl the hues around as a single group.
| | 05:56 | I just want to go ahead and make the mask a
little more red, like we are seeing it there.
| | 06:00 | It looks great to me.
| | 06:01 | Then I will go ahead and click OK in
order to accept that modification. Okay.
| | 06:05 | Now, let's say I want to take this mask and
I want to update all the other masks in kind.
| | 06:11 | Well, I'll go ahead and bring up
the Symbols palette once again, and
| | 06:15 | I would grab this guy.
| | 06:16 | He is still selected, as you may recall.
| | 06:17 | I will grab him and I could just drag
and drop him into the Symbols palette if I
| | 06:21 | wanted to create a new symbol.
| | 06:23 | But if I want to replace an existing
symbol, in this case the Tiki Idol symbol
| | 06:27 | inside of the palette, I would press
the Alt key or the Option key on the Mac
| | 06:31 | and drop this new
version of the symbol in place.
| | 06:35 | That goes ahead and updates
all of the other symbols in kind.
| | 06:39 | So you see that? This is the before
version of those idols; this is the after
| | 06:43 | version of those idols.
| | 06:45 | It gives you a sense of how you might
actually put a symbol in play, and how you
| | 06:50 | can edit a symbol in context
inside of your illustration window.
| | Collapse this transcript |
| Replacing instances with a different symbol| 00:01 | Now, notice that something very
interesting happened when we updated the Tiki God.
| | 00:05 | This is before when he was a
collection of editable paths and this is after I
| | 00:11 | updated all the other instances here.
| | 00:13 | He becomes an instance himself.
| | 00:15 | So, Illustrator automatically
converts the original into an instance, which
| | 00:20 | might make you think, "Oh golly,
then I have lost access to it."
| | 00:23 | Well, of course you have it.
| | 00:25 | You can always break that link again
just by clicking on this broken chain icon
| | 00:29 | at the bottom of the
Symbols palette. All right.
| | 00:32 | If you want to catch up with me, I am
working inside of a document called Tiki
| | 00:34 | men.ai, found inside the 21_Symbols folder.
| | 00:38 | In this exercise, we are going to see
how you can take a bunch of instances and
| | 00:42 | replace them with a totally different
symbol inside of your Symbols palette.
| | 00:47 | So, I am going to go ahead and press
Ctrl+A or Command+A on the Mac in order to
| | 00:51 | select all of the instances
inside of this illustration.
| | 00:54 | Then I am going to Shift+Click on the
central figure here, the tallest of the
| | 00:58 | bunch, the one that's
upright in order to deselect him.
| | 01:02 | Now, let's say that we want to update
all of these guys, change them out for
| | 01:06 | a different symbol.
| | 01:07 | I am going to go ahead and click
on this symbol down here, the Baobab
| | 01:10 | Tree, which is the symbol that we
added from the primitive library a
| | 01:14 | couple of exercises ago.
| | 01:16 | Then you go up to the palette menu
right there and you choose Replace Symbol
| | 01:22 | in order to replace all selected
instances with the Baobab Tree.
| | 01:25 | I will go ahead and hide that palette,
and I am going to drag these trees
| | 01:30 | upwards, so that we can see he is
sort of immersed inside of a grotto here.
| | 01:34 | Another way to work is to go up here to this
Replace pop-up menu in the Control palette.
| | 01:38 | Notice it's showing a copy of
the Baobab Tree right there.
| | 01:42 | Go ahead and click the down-pointing
arrowhead and you gain access to all of the
| | 01:46 | symbols in your Symbols
palette inside of this document.
| | 01:50 | Then you can choose a different symbol,
like table right here in order to switch
| | 01:54 | out all of those trees for end tables.
| | 01:56 | Now, I am going to go ahead and grab my
Scale tool, and I am going to scale them
| | 02:00 | all inward so that they
fit on screen all at once.
| | 02:03 | So you can see, he is not evil.
| | 02:05 | He is just trying to sell
you some furniture, man.
| | 02:07 | In any case, it's all
very wonderful and flexible.
| | 02:10 | In the next exercise, I am going to
show you how to create your own exceedingly
| | 02:13 | useful library of symbols from a group
of preset shapes that ships along with a
| | 02:19 | different Adobe application, namely Photoshop.
| | Collapse this transcript |
| Exporting custom shapes from Photoshop| 00:00 | So far, most of the symbols
we've seen are really miniature
| | 00:04 | illustrations, things like this
modified Tiki Idol right there and these
| | 00:08 | tables that are surrounding it.
| | 00:10 | We also saw this rocket ship and we saw this
Baobob Tree down here, and so on and so on.
| | 00:16 | But really, these are
other people's illustrations.
| | 00:19 | I am not sure that I am going to be
working them into my stuff very often.
| | 00:23 | If I am looking for symbols that I can
actually use, I am looking for something
| | 00:27 | more primitive, not primitive like this,
not indigenous, but primitive in terms
| | 00:32 | of their structure and form and their color.
| | 00:34 | I don't want these wacky full color
illustrations, even though I like them.
| | 00:38 | I mean, I think they are great, but
the kinds of stuff that I am going to
| | 00:40 | integrate into my own work, I am
looking for something pared down.
| | 00:44 | Something more along the lines of
modern hieroglyphics, the kinds of
| | 00:47 | symbols that you can recognize no
matter what culture you are from,
| | 00:51 | no matter what language you speak.
| | 00:52 | For example, no matter who you are,
you know that this stands for airport and
| | 00:58 | this symbol right there stands for bathrooms.
| | 01:00 | Those are the kinds of
symbols that I am looking for.
| | 01:03 | Illustrator does ship with a few of
those kinds of symbols inside of its symbols
| | 01:07 | libraries, but if you want a wealth of
those kinds of basic forms, then you need
| | 01:14 | to look to Photoshop.
| | 01:15 | Photoshop has these custom shape libraries.
| | 01:18 | I am going to go ahead and
delete these two symbols right there.
| | 01:21 | It has these things called custom
shape libraries and the custom shape
| | 01:24 | libraries are a great resource
for symbols inside of Illustrator.
| | 01:29 | In this exercise, I am going to show
you how the custom shape libraries work
| | 01:32 | inside Photoshop and how we bring them
over into Illustrator and then in the
| | 01:36 | next exercise, I will show you how we
can very quickly take these basic graphics
| | 01:41 | and turn them into symbols.
| | 01:43 | So, let's go ahead and switch over to Photoshop.
| | 01:45 | It's not necessary that you have Photoshop
running on your machine, because you can
| | 01:48 | just sit back and watch if you like.
| | 01:50 | I am looking at a file that's called
Photoshop shapes 1.psd that I have included
| | 01:55 | for you in the 21 Symbols folder.
| | 01:57 | I have got another one called Photoshop
shapes 2.psd, and the whole reason that
| | 02:02 | I have broken them into two
different images is because there are so many
| | 02:05 | symbols that they don't really
fit nicely into a single image.
| | 02:09 | And indeed, we have about 400
different shapes available to us between these
| | 02:15 | two files, almost 400, and they are all
called from Photoshop at various points in time.
| | 02:22 | In other words, different versions
of Photoshop shipped with different
| | 02:25 | custom shape libraries and I have
kind of been heaping these libraries
| | 02:28 | together over the years.
| | 02:30 | So, Adobe has culled the number of
shapes that are available with Photoshop CS3
| | 02:34 | down to about 200, a few more than 200.
| | 02:36 | So there is a lot more shapes inside
of these files that I am giving you.
| | 02:40 | Let me show you how I put this file together,
just so you have a sense of how things work.
| | 02:45 | Again, I am in Photoshop.
| | 02:46 | I am going to go down here to the
Shape tool flyout menu and I am going to
| | 02:49 | choose the Custom Shape tool.
| | 02:51 | I am going to go up here to what
Photoshop calls the Options bar, what
| | 02:55 | Illustrator calls the Control palette
and I am going to click this down pointing
| | 02:58 | arrowhead next to the word Shape and
these are the custom shapes that are
| | 03:03 | installed along with Photoshop CS3.
| | 03:05 | It's pretty small collection, as it
turns out, but there is many, many more
| | 03:09 | available to you that are
installed on your hard drive.
| | 03:11 | Go ahead and click this right arrowhead
right there and then choose All in order
| | 03:16 | to load all of the custom shapes
that are included along with Photoshop.
| | 03:19 | Then go ahead and click OK.
| | 03:21 | You can see this gigantic list of, as I
say, more than 200 different shapes that
| | 03:27 | are available to Photoshop CS3.
| | 03:29 | I am giving you everything from this
dog bone up here all the way down to this
| | 03:35 | sort of grid right there.
| | 03:37 | From the Plus sign down to the World
icon, those are new shapes that were
| | 03:41 | added to Photoshop CS3.
| | 03:43 | I am not including those in my
documents I am giving you, but the reason is
| | 03:47 | because they are already
available to you inside of Illustrator.
| | 03:50 | Illustrator also includes these icons
toward the bottom here inside of a Symbol
| | 03:55 | Library called Web Icons,
in case you are interested.
| | 03:58 | So anyway, there they are.
| | 03:59 | How did I go ahead and add
them to this big document here?
| | 04:02 | Well, I grab the shape that I want to
draw, for example, let's say I want to
| | 04:05 | draw this adorable bunny silhouette.
| | 04:08 | Then I went ahead and drew it,
while pressing the Shift key so that I
| | 04:13 | constrained its proportions.
| | 04:15 | Then I released, of course, and then
I did that several hundred more times.
| | 04:19 | Yes, it was tedious.
| | 04:21 | Yes, you are welcome. All right.
| | 04:23 | I will go ahead and undo
that modification there.
| | 04:25 | Now let's check out the Layers palette.
| | 04:26 | I am going to bring up the Layers
palette so that we can see now we have got
| | 04:29 | this white background layer.
| | 04:31 | It's empty and then on top of it is
the Shapes layer and it's a collection of
| | 04:35 | custom shapes, all the shapes that
you are seeing on screen right now.
| | 04:38 | If I were to click on this vector mask
thumbnail here, you could see the outlines.
| | 04:41 | It looks sort of dotted.
| | 04:42 | They make all the shapes look kind of fuzzy.
| | 04:45 | These dotted outlines that
show the vector based outlines.
| | 04:48 | They happen to be filled with black
and that's why we are getting this fuzzy
| | 04:51 | sort of appearance now.
| | 04:52 | Let's go ahead and switch out that
black color for white by double-clicking
| | 04:56 | on this black swatch.
| | 04:57 | I will make it white, click OK, and now you
can see the pristine vector based outlines.
| | 05:03 | All right.
| | 05:04 | How do we export them so that
we can use them in Illustrator?
| | 05:07 | You go up to the File menu.
| | 05:09 | You choose the Export command and
you choose Paths to Illustrator.
| | 05:14 | I am going to go ahead and call this
document Demo file because I want you to
| | 05:18 | know I am not including it for you.
| | 05:20 | I am going to save it right now into
the 21_symbols folder, but I am not
| | 05:23 | including it for you.
| | 05:24 | This is strictly for the
sake of demonstration here.
| | 05:27 | That's because I have already given you
the file, a better version of it in the
| | 05:30 | form of Photoshop shapes.ai, which we
will open in the next exercise. All right.
| | 05:35 | So there it is, Demo file, we are
going to save it as an Adobe Illustrator
| | 05:38 | document, obviously, and the paths
that we want to export are those that are
| | 05:42 | associated with the Vector Mask for
the layers called shapes, which is the
| | 05:48 | name of this layer. Okay.
| | 05:49 | Then I will go ahead and click the Save
button in order to save out those shapes.
| | 05:52 | You can see it doesn't take any time at all.
| | 05:54 | Now let's switch back to Illustrator.
| | 05:56 | I am going to go up to the File menu.
| | 05:58 | I am going to choose the Open command
and I am going to locate that Demo file,
| | 06:03 | again, I did not include it for you but
I am going to go ahead and open it now.
| | 06:06 | There is the Demo file.
| | 06:07 | I am going to click the Open button in
order to open that file, and if you were
| | 06:11 | to do this, this is
exactly the effect you would get.
| | 06:13 | This effect of oh no.
| | 06:15 | It didn't work, because your Symbols
palette is empty but also, even worse, your
| | 06:19 | artboard is totally empty with
just a few crop marks around nothing.
| | 06:23 | Well, it turns out that the shapes are there.
| | 06:25 | They are just filled with none.
| | 06:26 | So, go ahead and press Ctrl+A, or Command+A
on the Mac in order to select all the shapes.
| | 06:30 | Then we will bring up the Color palette
and I will make sure my fill is active,
| | 06:34 | which it is, and I will fill all
the shapes with black. Awesome!
| | 06:38 | Now we need to release these crop marks here.
| | 06:40 | So, I am going to go up to the Object
menu, choose Crop Area and choose Release.
| | 06:45 | That's going to convert the crop marks
back to a rectangle, which is what the
| | 06:49 | crop marks started as and then I will
press the Backspace key or the Delete key
| | 06:53 | on the Mac in order to get rid of them
and there are all the shapes that are
| | 06:56 | associated with that first Photoshop document.
| | 07:00 | In the next exercise, I am going to show
you all the shapes inside of a document
| | 07:05 | that I have put together for
you in an Adobe Illustrator document.
| | 07:07 | We are going to take those shapes and
we are going to assemble them into a
| | 07:11 | custom symbol library that we can
access from any illustration we open up
| | 07:16 | inside of Illustrator.
| | Collapse this transcript |
| Making lots of symbols| 00:00 | In this exercise, I am going to show
you how to take that wealth of custom
| | 00:04 | shapes from Photoshop and turn them
into symbols here inside of Illustrator.
| | 00:09 | I am currently looking at this
document called Photoshop shapes.ai.
| | 00:13 | That's found inside the 21_Symbols folder.
| | 00:16 | We are inside Illustrator, by the way.
| | 00:18 | You can see that the nearly 400 custom
shapes that I have been compiling over
| | 00:23 | the years from Photoshop make up a kind
of dingbat's font, except that instead
| | 00:28 | of having each graphic available to us
as a character of type that we can't find
| | 00:32 | without using a special utility because
we don't know which keys go with which
| | 00:36 | character and so on, instead,
every single one of the graphics is a
| | 00:41 | fully-fledged graphic, that we can
then turn into a symbol and replicate over
| | 00:45 | and over again throughout our illustrations.
| | 00:48 | So how do we go about doing that,
especially bearing in mind that you have to do it
| | 00:52 | one symbol at a time?
| | 00:53 | There is no way to grab 100 different
symbols, drag them all over into the
| | 00:58 | Symbols palette and then tell
Illustrator, "You figure it out, buddy."
| | 01:01 | If you grab all of these 100
graphics and drag them over into the Symbols
| | 01:04 | palette, then you will get one big
symbol that contains a ton of different
| | 01:09 | graphics inside of it.
| | 01:10 | That's not what you want. So what do you do?
| | 01:12 | Well, let me show you.
| | 01:14 | Let's go ahead and bring up the
Symbols palette, and you can see that I have
| | 01:16 | done a lot of the work for you in advance.
| | 01:18 | I have gone ahead and converted about
120 of these nearly 400 graphics into
| | 01:24 | symbols here inside of the Symbols
palette, starting with the Butterfly and
| | 01:28 | moving all the way down to the Sun.
| | 01:30 | You can tell that these are the
graphics I have done, because they are all now
| | 01:34 | instances inside of the artboard.
| | 01:36 | The original versions of the graphics
now reside here inside the Symbols palette.
| | 01:40 | From that point on, we have the
original graphics available to us, with anchor
| | 01:45 | points and control handles and
so on here inside of the artboard.
| | 01:49 | Notice also that I went ahead and accepted
Illustrator's automatic naming convention.
| | 01:53 | So the first Butterfly is called New
Symbol, the next one is called New Symbol
| | 01:56 | 1, New Symbol 2, New Symbol 3,
all the way down to New Symbol 119.
| | 02:01 | The reason I mention this to you is
because I want you to know that you can,
| | 02:05 | if you want to, name every
single one of these symbols.
| | 02:09 | But I am not going to do that for you.
| | 02:10 | It took enough time for me to do what I did.
| | 02:14 | Also, I want to give you a sense of
how to make things as quick and easy for
| | 02:17 | yourself as possible.
| | 02:18 | If you decide later you want to rename
a symbol, then you would go ahead and
| | 02:21 | click on it here inside the Symbols
palette, and then click on this icon down at
| | 02:25 | the bottom for Symbol Options, name your
symbol, click OK, and you are done. All right.
| | 02:29 | I am going to click Cancel.
| | 02:30 | How do we go about creating our symbols?
| | 02:32 | Well, let's go ahead and recreate the
bottom two rows of symbols here inside
| | 02:36 | the Symbols palette.
| | 02:37 | So, I am going to go ahead and grab
them from the Sun, which is New Symbol 119,
| | 02:41 | to the Grass, which is New Symbol 108.
| | 02:43 | I am going to click on the
Trash Can in order to delete them.
| | 02:48 | Illustrator is going to give me a warning.
| | 02:50 | Its going to say you have got some
instances out there, right there, in fact,
| | 02:54 | this row and a couple of guys right
there, what are you going to do with them?
| | 02:57 | Do you want to delete them or expand them?
| | 02:58 | If you say Delete, you are
going to get rid of everything.
| | 03:01 | Not only are you going to lose access
to the original graphics here inside the
| | 03:04 | Symbols palette, but you lost them
out here in the artboard as well.
| | 03:06 | So, you totally got rid of them.
| | 03:07 | That's not what we want to do.
| | 03:09 | Go ahead and Undo that modification.
| | 03:10 | Go ahead and reselect those symbols by
clicking on the Sun, Shift+Clicking on
| | 03:14 | the Grass, clicking on the Trash Can,
and this time, we will click on Expand
| | 03:18 | Instances in order to convert those
symbols back to their original anchor points
| | 03:24 | and control handles and so on. All right.
| | 03:26 | Now, that we have done that, let's
go ahead and remake them into symbols.
| | 03:29 | So I am going to grab the Grass, drag
in and drop it into the Symbols palette.
| | 03:34 | Illustrator displays the Symbol
Options dialog box. Ask me for a name.
| | 03:37 | Again, if you want to name it, go for it.
| | 03:39 | The rest of these options are
strictly for sharing symbols with Flash and
| | 03:44 | Fireworks, in which case you need to
specify a Type, which is most likely going
| | 03:48 | to be Movie Clip, as surprising as that sounds.
| | 03:50 | A Registration, which is useful if you
want to set a transformation point, like
| | 03:54 | an origin point inside of Flash.
| | 03:57 | You can say, okay, in the future,
I am going to want to go ahead and
| | 04:00 | transform or animate this symbol
about its center, then you could set that
| | 04:04 | registration point.
| | 04:05 | You can always override
it inside of Flash however.
| | 04:07 | Then you can also enable this 9 point
slicing if you want to, which is great for
| | 04:13 | being able to scale
banners and other web graphics.
| | 04:17 | We are not worried about that, because
in our case we are just creating symbols
| | 04:21 | that we are going to use
here inside of Illustrator.
| | 04:23 | So basically, this entire dialog box, with
the possible exception of Name, is a wash.
| | 04:27 | I am just going to click OK.
| | 04:28 | So, that's one way to make a symbol.
| | 04:31 | The other way is to click on this
next Grass item right there and then just
| | 04:35 | click on the new page icon.
| | 04:36 | You get your Symbol Options dialog box.
| | 04:38 | You press Return or Enter,
and then you are done.
| | 04:41 | You have created the New
Symbol inside the Symbols palette.
| | 04:43 | What if you want to bypass that dialog box?
| | 04:46 | Well, I will go ahead and click on the
Acorn and I will press the Alt key or the
| | 04:50 | Option key on the Mac and click on
that new page icon, and notice that goes
| | 04:54 | ahead and just adds it
without bringing up the dialog box.
| | 04:57 | So, that's an Alt+Click or Option+
Click of that little page icon down there.
| | 05:00 | What if you don't want to convert the object
into an instance after you turn it into a symbol?
| | 05:07 | In other words, you want it to remain an
editable graphic inside of this illustration.
| | 05:12 | Then you go ahead and select the
graphic and you Shift+Click on the New icon.
| | 05:17 | Brings up the dialog box, fine. You click OK.
| | 05:20 | Notice that I still have
access to the original graphics.
| | 05:23 | It's not an instance that's linked to
the symbol inside of the Symbols palette.
| | 05:26 | Whereas with the Acorn, if I click on
it, it's not only an instance but its
| | 05:30 | linked to the Acorn here
inside the Symbols palette.
| | 05:34 | What if you want to keep access to your
anchor points and your control handles
| | 05:38 | and so on, and you want to bypass the
dialog box? You press the Shift and
| | 05:42 | Alt keys, so the Shift and Option keys and
click on that little Page icon. There is it.
| | 05:47 | But still, all of this is mind-
numbingly tedious if we are trying to plow
| | 05:50 | through 100 graphics, or even worse, plow
through another 300 graphics. What do we do?
| | 05:56 | Well, here's the better way
to go ahead and create symbols.
| | 06:00 | You have got a keyboard shortcut,
and it's a new keyboard shortcut inside
| | 06:03 | of Illustrator CS3.
| | 06:04 | Go ahead and click on your graphic,
press the F8 key, comes to us from Flash,
| | 06:09 | by the way. F8 makes symbols inside of Flash.
Now it does the same thing inside of Illustrator.
| | 06:13 | Then press the Enter or Return key in
order to add it to the palette, and that's
| | 06:17 | all we are going to do from
this point on. Select, F8, Enter.
| | 06:20 | Select, F8, Enter. Select, F8, Enter.
| | 06:24 | If we are on the Macintosh side,
select, F8, Return. Select, F8, Return.
| | 06:29 | Select, F8, Return.
| | 06:31 | So, you see how that works?
| | 06:32 | You just keep doing that over and over again.
| | 06:34 | Is that also a little bit tedious and
a little bit laborious? Absolutely.
| | 06:39 | Turn on the radio, listen to something you like.
| | 06:42 | That's my only recommendation there. All right.
| | 06:44 | So, we have gone ahead and added a
ton of symbols to the Symbols palette.
| | 06:47 | If you want to add some
more, definitely go for it.
| | 06:51 | You can add every single one of these
graphics from this Photoshop shapes.ai
| | 06:55 | document if you want to, and then
rejoin me in the next exercise, when I show
| | 06:59 | you how we can take these symbols and
turn them into a custom library that we
| | 07:04 | can access from any open
illustration inside Adobe Illustrator.
| | Collapse this transcript |
| Loading an illustration as a symbol library| 00:00 | All right, now that you've gone and
converted a hundred or so of these graphics
| | 00:04 | to symbols inside the Symbols palette,
how do you make those symbols available
| | 00:07 | to each and every document that
you have open inside of Illustrator?
| | 00:11 | Well, I'll show you.
| | 00:12 | I am working inside of a
graphic called Photoshop shapes.ai.
| | 00:16 | It's found inside the 21 Symbols
folder, and if you bring up your Symbols
| | 00:20 | palette, you can see that I have
converted many, not all but many, of the graphics
| | 00:25 | to symbols here inside the Symbols palette.
| | 00:27 | Now go to the bottom left corner of the
palette and click on this icon here to
| | 00:31 | bring up a menu of saved libraries,
and I want you to use the Save Symbols
| | 00:36 | command at the top of the menu
| | 00:38 | in order to bring up this dialog box
right here. Now, basically Illustrator is
| | 00:42 | saying here's where I want
you to save your symbols.
| | 00:44 | So, you should probably save it to that
location to make sure that Illustrator
| | 00:47 | can find this file in the future.
And then what do you want to call the file?
| | 00:50 | And you can see that Illustrator is
suggesting a name of Photoshop shapes.ai,
| | 00:55 | which just so happens to be the
name of my file, Photoshop shapes.ai.
| | 01:00 | It ends in a .ai extension, so it must be a
standard Illustrator document, and indeed, it is.
| | 01:06 | It's just going to be a blank document
with a bunch of symbols saved inside of
| | 01:10 | the Symbols palette.
| | 01:12 | So, why in a world are we doing
this when we have already saved such a
| | 01:15 | graphic right here?
| | 01:16 | Why indeed, I ask you?
| | 01:18 | In fact, what I am going to
suggest you do is just cancel.
| | 01:20 | There is no reason to
save a custom symbol library.
| | 01:23 | Let's go ahead and close
the Symbol palette for now.
| | 01:26 | All you need to do is go up to
the File menu and if you made any
| | 01:29 | modifications to your file then go
ahead and choose the Save command in order
| | 01:32 | to update the file on disk.
| | 01:34 | Then you are ready to load it
inside of another illustration.
| | 01:38 | So my file is already saved. I am going
to switch to this illustration right here.
| | 01:42 | It's called Tiki & tables.ai.
| | 01:44 | It's available to you inside the 21
Symbols folder if you'd like to open it on up.
| | 01:48 | Now I am going to bring up
the Symbols Library once again.
| | 01:51 | It contains this wealth of symbols that are
included inside of this specific document.
| | 01:56 | In order to gain access to the symbols
I was looking at just a moment ago,
| | 02:00 | I would click on this lower left icon and
I would choose Other Library, and then I
| | 02:05 | would locate my library here inside
the exercise_files folder on my desktop.
| | 02:10 | Then I'll go ahead and scroll down
until I find the 21_symbols folder.
| | 02:14 | Go ahead and open it on up and then
I will find my Photoshop shapes.ai document.
| | 02:19 | You can follow along with me as well by the way.
| | 02:21 | And then click Open in order to open
the symbols from that document as a
| | 02:26 | custom symbol library.
| | 02:28 | And now if you want to add any of
these symbols to this Tiki document right
| | 02:33 | here, all you got to do is click
on the symbols that you want to add.
| | 02:36 | For example, let's say I want to
add this bottom row of symbols.
| | 02:39 | I will just go ahead and click on
each and every one of these symbols,
| | 02:43 | one symbol at a time.
| | 02:45 | And now I am done. I have added the
symbols that I want to use into the Symbols
| | 02:48 | palette for this document.
| | 02:50 | Now I'll go ahead and close Photoshop
shapes just by clicking on the Close box.
| | 02:54 | Notice now that I can get to that
Photoshop shapes palette over-and-over again
| | 02:58 | by going down here to the Symbol
Libraries menu and choosing Photoshop shapes.
| | 03:04 | So, it's now been added to my menu,
and in fact, it's been added to a more
| | 03:08 | convenient location.
| | 03:09 | Even though it's at the bottom of the
menu, the bottom of the menu is a very
| | 03:12 | short distance away from the icon for me, so I
can get to it very easily. So, it's all good.
| | 03:17 | It's basically what it comes down to.
| | 03:19 | All right, now let's say what I want
to do is I want to take all these tables
| | 03:22 | and I want to replace
them with these Sun shapes.
| | 03:25 | I will go ahead and press Ctrl+A or
Command+A on the Mac, I'll Shift+Click on
| | 03:29 | the Tiki God in order to de-select him,
and I will go up to my Replace menu here
| | 03:33 | in the Control palette.
| | 03:34 | I will click in order to bring up the
dropdown palette, scroll down to the
| | 03:38 | bottom, click on the sun and the
deed is done. I have now replaced all of
| | 03:42 | the tables with sun.
| | 03:43 | Of course, so suns are a little bit tiny and
they are also a little bit black and white.
| | 03:48 | It'd be nice if they were in color.
| | 03:49 | So why don't we just go ahead and
edit the original sun graphic by
| | 03:52 | double-clicking on it.
| | 03:54 | I think at this point we can go ahead
and hide the Symbols palette so that we
| | 03:57 | can see what we are doing.
| | 03:58 | Press Ctrl+A or Command+A on the
Mac to select the entire sun shape.
| | 04:02 | Let's go ahead and double-click on the
Scale tool and set the Scale to 600% and
| | 04:08 | then click OK in order to make that sun larger.
| | 04:12 | The entire thing is expressed as a
compound path right now, including
| | 04:15 | this central circle.
| | 04:17 | So, I need to go ahead and extract
this central circle out of the rays.
| | 04:21 | So I am going to get my White Arrow
tool, click off the shape, Alt+Click or
| | 04:24 | Option+Click on the circle in order to
select it independently, and then press
| | 04:28 | Ctrl+X or Command+X on the Mac
| | 04:30 | in order to cut that to the Clipboard.
Now I am going to grab my Black Arrow tool.
| | 04:33 | I am going to click on the rays
in order to select them, and why don't we
| | 04:36 | fill the rays with a
yellow to red radial gradient.
| | 04:41 | I am going make sure that my Swatches
palette and my Gradient palette are up on
| | 04:44 | screen, and I am going to drag this red
swatch over here to the right-hand side
| | 04:49 | of the Gradient, and I am going to drag
this yellow swatch to the left-hand side
| | 04:53 | of the Gradient, and I am going to
change the Gradient Style to Radial, like so,
| | 04:58 | and that goes ahead and fills
the rays with a radial gradient.
| | 05:01 | Now I want to reintroduce
that circle into the sun here.
| | 05:07 | But if I just press Ctrl+F right now,
something very, very weird happens. Check this out.
| | 05:12 | If I press Ctrl+F, I go back to my
main graphic, I paste the circle in the
| | 05:18 | middle of the Tiki God's face
there, right in his teeth actually.
| | 05:22 | And I update all of these sun rays
as well, and that happens if you press
| | 05:26 | Command+F on the Mac.
| | 05:28 | So, I'll go ahead and Undo that
modification to come back to the isolated
| | 05:31 | view of this symbol.
| | 05:32 | Don't know why that happens.
I think it's kind of a bug actually.
| | 05:35 | I will go ahead and click off the sun
rays in order to de-select them and then
| | 05:39 | press Ctrl+F or Command+F on the
Mac to reintroduce that circle.
| | 05:44 | Let's go ahead and fill it with the
Radial Gradient as well just by clicking on
| | 05:48 | this gradient swatch here
inside the Gradient palette.
| | 05:51 | That's a little too red for me so I
want to make that gradient a little
| | 05:55 | bigger, I am going to grab my Gradient
tool and drag from the center outward,
| | 06:00 | like so, to about here in order to
have just a little bit of radial gradient
| | 06:04 | inside that central sun.
| | 06:06 | I am now done, so I'll grab my Black
Arrow tool and double-click outside of the sun,
| | 06:10 | and just like that, Illustrator
goes ahead and updates all of the sun
| | 06:14 | instances inside of this Tiki & tables.ai file.
| | 06:19 | And now you know how to take any
document that contains symbols and turn it
| | 06:23 | into a custom symbols library that's
available from any other document inside
| | 06:28 | of Illustrator.
| | Collapse this transcript |
| Laying down a symbol set| 00:01 | In this exercise, I am going to
introduce you to the Symbolism tools, which
| | 00:04 | allow you to lay down and modify whole
groups of symbols at a time inside of Illustrator.
| | 00:10 | I am working inside of a
document called Women men.ai.
| | 00:13 | That's found inside the 21_Symbols
folder, and it obstensibly represents the
| | 00:18 | book cover to a bestselling self help title.
| | 00:21 | Notice that we have got a slew of
male and female characters that are
| | 00:25 | interwoven into this design, and these
male and female characters both come to
| | 00:31 | us from the Symbols palette.
| | 00:32 | So, I have expressed these graphics as symbols.
| | 00:35 | Note that I have moved the Symbols
palette over into a cluster along with Stroke
| | 00:38 | and Gradient just to keep it up on screen.
| | 00:40 | You can see several different symbols actually.
| | 00:43 | We can see mann, and we also have
womyn next door, and we have got this
| | 00:47 | Interstate Highway sign, a Town symbol
that appears on I-90 a few times, and
| | 00:53 | then we have got the big city symbol
which represents Missoula here on the
| | 00:58 | west side of Montana.
| | 01:00 | Now, we are going to be creating over
the course of this and the next exercise,
| | 01:03 | we are going to be creating these
instances of the male and female symbols.
| | 01:07 | So what I want you to do is twirl
open the Base Objects layer in order to
| | 01:11 | check out its contents.
| | 01:13 | Notice that we have a series of three
objects in all, and things start off with
| | 01:18 | this clipping mask, which is called beige.
| | 01:20 | If you turn it off, you will notice
that it does indeed clip all of the
| | 01:25 | symbols and the interstate and a lot
of other things that are hanging off the
| | 01:28 | outsides of the book cover.
| | 01:30 | It goes ahead and clips them away.
| | 01:32 | It also infuses the book
cover with this beige color here.
| | 01:36 | Then below that we have the Symbol Set.
| | 01:38 | I want you to just go ahead and turn that off.
| | 01:40 | The Symbol Set is the thing that
you create with the Symbolism tools.
| | 01:44 | So, go ahead and turn it off for now
because we are going to be recreating it,
| | 01:47 | and then below that, we have the Yin-
Yang symbol, and the Interstate Highway,
| | 01:52 | and so on, and so on.
| | 01:53 | Go ahead and click on that graphic.
| | 01:55 | You don't have to make it active.
| | 01:56 | Just go ahead and click on it in
order to set the point at which we want
| | 01:59 | to create our symbols.
| | 02:02 | Then I want you to select this guy
right here, the Symbol Sprayer tool, and
| | 02:06 | in fact, not only do I want you to select
it. I want you to click and hold and
| | 02:09 | then tear-off the palette.
| | 02:11 | So, we have access to the palette
because there are a lot of tools that we are
| | 02:14 | going to be using here.
| | 02:16 | Things start off with the Symbol
Sprayer tool, which allows you to paint
| | 02:18 | instances of a specific symbol.
| | 02:21 | So for example, in my case,
I have got the Town symbol selected.
| | 02:25 | So I could paint a bunch of circles into
my illustration like so, if I wanted to.
| | 02:30 | I will go ahead and undo that modification.
| | 02:32 | Instead, the thing that I want to
paint are these Male symbols right there.
| | 02:36 | So, I will go ahead and click on
Mann to make it active in the Symbols
| | 02:39 | palette, and then I will lay down
a few male symbols here and there
| | 02:42 | throughout the illustration.
| | 02:43 | Now, you may feel like they are
awfully darn small. That's okay.
| | 02:48 | The Symbolism tools allow you to
scale symbols, and make all kinds of
| | 02:51 | other modifications.
| | 02:53 | Once you have painted in a few male
symbols, go ahead and grab the female icon
| | 02:57 | right there, and let's go
ahead and paint that in as well.
| | 03:00 | Now notice, we have just created the
thing called a Symbol Set right there at
| | 03:04 | the top of the layer.
| | 03:05 | I am going to go ahead and move it
down a little bit, so that it appears just
| | 03:08 | above the Y-Y and road layer.
| | 03:11 | But this is the item.
| | 03:13 | This is the object that we just created.
| | 03:15 | So when you paint with the Symbol
Sprayer tool, you lay down this symbol object,
| | 03:20 | and then from this point on, you are
going to be editing this symbol object.
| | 03:23 | For example, as long as the symbol
object remains meatballed, and even if I grab
| | 03:28 | a different symbol like Womyn in this
case and then start painting with it,
| | 03:32 | I am still painting
inside of the same Symbol Set.
| | 03:35 | And you can see, if you look closely,
that I am displacing male symbols as I
| | 03:39 | paint in with the female ones.
| | 03:41 | So, the males are sort of
moving around to get out of the way.
| | 03:44 | You can paint in as many females as you want.
| | 03:46 | Go for any sort of demographical
distribution that you desire, maybe like three
| | 03:52 | girls for every boy.
| | 03:53 | That would be nice.
| | 03:56 | Then once you get done, once you feel
like you have painted in enough symbols,
| | 03:59 | then take a break and join me as we
set about scaling and colorizing these
| | 04:04 | symbols in the next exercise.
| | Collapse this transcript |
| Painting with the Symbolism tools| 00:01 | I am still working inside the Women
men.ai file that I opened in the previous
| | 00:05 | exercise and I have sprayed in a
series of male and female symbols using the
| | 00:10 | Symbol Sprayer tool here which you can
see in this Symbolism tool flyout menu.
| | 00:16 | Symbolism is, by the way,
Illustrator's term for these tools.
| | 00:20 | Now you may notice that these instances of
the male and female symbols are quite small.
| | 00:25 | They are uniformly sized but they are
very small and that they are quite gray
| | 00:29 | as well, quite drab.
| | 00:30 | And I made them small and gray on
purpose because we can scale these symbols
| | 00:36 | using the Symbolism tools and we can
also colorize them and if we start small,
| | 00:41 | and we start gray, then we
have only up and up to go.
| | 00:44 | We can basically colorize gray
any color we want it to be.
| | 00:47 | So moving along through the Symbolism
tools here, notice we have got the Symbol
| | 00:52 | Sprayer tool. Next we have got the
Symbol Shifter tool that allows you to move
| | 00:57 | symbols inside of your Symbol Set and
that Symbol Set, by the way, it should be
| | 01:01 | meatballed here inside the Layers palette.
| | 01:04 | We have got the Symbol Scruncher
that moves symbols together and spreads
| | 01:07 | them apart and we have got the Symbol
Sizer tool. Go ahead and select that one,
| | 01:11 | because that's the one we want to use
and I am going to go ahead and start painting.
| | 01:15 | Now if you paint and hold like that,
you are going to scale your symbols
| | 01:19 | awfully darn quickly.
| | 01:20 | So instead, what I recommend you do--
I will go ahead and Undo that modification.
| | 01:23 | What I recommend you do is just kind
of click a little bit, small clicks and
| | 01:27 | holds throughout your illustration.
| | 01:29 | Now you may notice you are only
scaling certain symbols inside of the Symbol
| | 01:34 | Set and in my case, I am only scaling
the female symbols. The male symbols are
| | 01:39 | remaining small here inside the book
cover and the reason is because the Womyn
| | 01:44 | symbol is active inside the Symbols palette
so only the active symbol is getting modified.
| | 01:49 | If I want to turn around and scale the
male symbol, so I need to go and click
| | 01:53 | on this Mann symbol and then click and hold
using the Symbol Sizer tool in my illustration.
| | 01:59 | All right, so I have pretty much
sized things the way I want them to be.
| | 02:02 | What if something gets too big
and you want to make it smaller?
| | 02:05 | Well, every one of these tools allows
you to reverse its behavior by pressing
| | 02:11 | and holding the Alt key or
the Option key on the Mac.
| | 02:13 | So when you click with the Symbol
Sizer tool, you enlarge the symbols.
| | 02:19 | When you Alt+Click or Option+Click, you reduce
the size of the symbols as I am doing right now.
| | 02:24 | The same goes for the Symbol Sprayer by the way.
| | 02:27 | If you feel like you need to add more
female symbols, as I do, I will go ahead
| | 02:31 | and grab the Woman Symbol, I will
make sure that my Symbol Sprayer tool is
| | 02:35 | active and then I will paint in to
add more female symbols into this area.
| | 02:41 | And one of the problems with this tool,
sometimes its idea of how populated a
| | 02:46 | certain region should be is a
little out of wack, so it kind of spreads
| | 02:50 | things apart more and more.
| | 02:52 | If you want to bring them together, go
ahead and grab that Symbol Scruncher tool
| | 02:55 | and then you can click in order to
see how they are getting moved together
| | 02:59 | inside of this illustration,
inside of the Symbol Set.
| | 03:03 | You can also, by the way, use the
Symbol Sprayer tool to decrease the
| | 03:06 | population, so if you decide you have
got too many men in a certain location
| | 03:11 | then I can select the Mann symbol here
inside the Symbols palette and you can Alt
| | 03:15 | or Option+Drag throughout the
region of your illustration.
| | 03:20 | If you want to affect all symbols in
kind, both male and female, then click in
| | 03:25 | an empty spot in the Symbols palette
in order to deselect all the symbols and
| | 03:29 | then you can go ahead and for example
Option+Drag or Alt+Drag in order to
| | 03:34 | decrease the population of a certain area,
male and female regardless of gender.
| | 03:40 | Next, we have moving right down the list,
we have got the Symbol Spinner tool,
| | 03:43 | which allows us to rotate symbols.
| | 03:45 | I am not interested in doing that in
this case. And we have got the Symbol
| | 03:48 | Stainer tool, which
allows us to colorize symbols.
| | 03:51 | That I am interested in doing.
| | 03:53 | Go ahead and grab that Symbol Stainer tool.
| | 03:55 | Let's go ahead and select from the
Control palette a fill color of pure cyan,I
| | 04:00 | figure and I will select the male
symbol this time around and we will go ahead
| | 04:04 | and paint the males throughout a
certain portion of the illustration and notice
| | 04:08 | that they turn Easter egg
blue very, very quickly.
| | 04:11 | So, you don't have to paint too much in
order to colorize symbols using the Stainer tool.
| | 04:17 | Next, I am going to choose a
complimentary color for the women, orange, and I am
| | 04:20 | going to select the Womyn symbol and
I am going to paint inside the sort of
| | 04:24 | upper region of this illustration.
| | 04:27 | In order to orange them up. You can of
course introduce as many colors as you like.
| | 04:33 | I am going to grab yellow and I am
going to paint both sexes yellow down in
| | 04:37 | this region, just a little swath of
yellow I figure. And then I will go ahead and
| | 04:41 | grab green, and I will paint some men green
down in this area and maybe over in this area too.
| | 04:48 | So, do whatever you want.
| | 04:49 | Paint in as many colors as you
feel like you should be painting.
| | 04:53 | I will go ahead grab red and maybe
just sort of offset some of the cyan
| | 04:56 | with some red there.
| | 04:57 | Once you are done, once you feel like
you have done the work you need to do to
| | 05:01 | this Symbol Set, let's go ahead and
make sure the Symbol Set is active in the
| | 05:04 | Layers palette, which it is, then go
to the Transparency palette and let's
| | 05:08 | change the blend mode from Normal to
Screen in order to screen those colors in
| | 05:14 | so that they are
brightening everything behind them.
| | 05:17 | So, this ends up looking great, I
think because it integrates the Symbol Set
| | 05:21 | into the design of the book cover.
| | 05:24 | It may be a little over the top though.
| | 05:26 | It may be distracting.
| | 05:27 | It may be difficult at this point for example
to tell that we are looking at a map of Montana.
| | 05:32 | I think that's fairly lost.
| | 05:34 | So what do we do if we want to
incrementally reduce the Opacity of our symbols?
| | 05:39 | Well, we switch to this guy right there,
the Symbol Screener tool, which allows you
| | 05:44 | to make symbols
transparent as you paint over them.
| | 05:47 | Notice how I just made some men
transparent at this point and I will make some
| | 05:51 | more men transparent down at this
location here and actually, I think just men
| | 05:56 | are going to be more transparent.
| | 05:57 | We will leave the women nice and
opaque. Because we men are so transparent.
| | 06:02 | I think that's really what it is about here.
| | 06:04 | Nothing symbolic there and then
finally we have got the Symbol Styler tool,
| | 06:07 | which allows you to apply Graphic
Styles to your symbols if you so desire.
| | 06:12 | Finally, one last little tip.
| | 06:14 | If you decide one of the Symbolism
tools isn't working the way you want it to,
| | 06:18 | and you want to fine-tune its function,
then go ahead and double-click on it and
| | 06:23 | that will bring up the
Symbolism Tool Options dialog box.
| | 06:27 | You can switch from one
Symbolism tool to another.
| | 06:30 | Some of them have options, some of
them don't, all of them little tips and
| | 06:34 | tricks for you, that tell you how the
tool works, what kind of keys you can press
| | 06:38 | when you are using them and so on.
| | 06:40 | I leave you to investigate those on your own,
but they are there in case you are interested.
| | 06:44 | All right, I am going to cancel out.
| | 06:45 | So we have seen how symbols work inside
of Illustrator, how practical they can be,
| | 06:50 | how they can automate the
replication of objects inside of Illustrator
| | 06:55 | and we have gotten the taste for these
very whimsical, I think, Symbolism tools
| | 07:00 | here inside Illustrator CS3.
| | Collapse this transcript |
|
|
22. 3D EffectsProbing the depths of 3D| 00:00 | A couple of chapters ago, I challenged you to
recall the new features back in Illustrator CS.
| | 00:06 | Well, in case you are curious,
that's when the Illustrator added the OpenType
| | 00:09 | and Glyphs palettes. It also marked
the introduction of the Live Scribble filter.
| | 00:13 | But probably the coolest new feature was 3D.
| | 00:16 | Using the 3D commands under the Effect
menu, you can extrude an object in to 3D space,
| | 00:20 | meaning you can rotate the
object and give it depth or you can revolve
| | 00:25 | a fragment of an object around a fixed axis.
| | 00:28 | None of the commands let you set up a
whole scene, so you aren't going to be
| | 00:31 | building any architectural
environments for example, but you can render simple
| | 00:35 | objects like box art, beverage
bottles and of course, 3D type.
| | 00:40 | In this chapter, I will show you how to
create, render and wrap artwork around a
| | 00:44 | simple DVD case and a more complex layout.
| | 00:48 | We will also see how to take an often
too pristine 3D rendering from Illustrator
| | 00:53 | and rough it up in Photoshop.
| | 00:55 | Depth. It's coming at you.
| | Collapse this transcript |
| Introducing 3D in Illustrator| 00:01 | It's time for 3D inside of Illustrator.
| | 00:04 | On one hand, 3D is just another live effect.
| | 00:07 | On the other hand, it is 3D after all.
| | 00:10 | We are taking our 2D vector objects
and turning them into 3D vector objects.
| | 00:15 | Now you need to know,
Illustrator is not a 3D drawing program.
| | 00:19 | You cannot establish scenes, for example.
| | 00:22 | You cannot determine camera angles.
| | 00:24 | You cannot do any number of things
that you can do in true 3D modeling and
| | 00:28 | rendering programs, but you can
take a single object and extrude it or
| | 00:33 | revolve it in 3D space.
| | 00:35 | That's what we have got
in front of us right now.
| | 00:37 | If you open this AIcs3 1on1 case.ai
file that's found inside of the 22_3D
| | 00:44 | Effects folder, you will come across
my mockup of the DVD case for this very
| | 00:49 | series, what I am suggesting we use.
| | 00:52 | I don't think it's going to fly actually,
because for one thing I went ahead and
| | 00:55 | switched out the lynda.com
logo and I switched it for a sun.
| | 00:59 | Now, I have good intentions.
I don't want our logo to get out there.
| | 01:01 | I don't really want to share it with the world.
| | 01:03 | But I don't think this is a case we are
going to use, if for only that reason.
| | 01:07 | But also, I am not sure that
everybody is going to go for the Tiki masks.
| | 01:10 | I think they work beautifully, but not
everybody is a Tiki mask fan is what it comes down to.
| | 01:15 | So what we are seeing right now is a rectangle.
| | 01:18 | A rectangle extruded into 3D space.
| | 01:21 | So we have a rectangular face right
here that's rotated in 3D space and then
| | 01:26 | extruded, which gives us this spine over
here on the left edge and this top edge as well.
| | 01:34 | So, that's extrusion.
| | 01:36 | The reason I am telling you this is
because that's the first kind of 3D that we
| | 01:40 | are going to visit here
inside of Illustrator. All right.
| | 01:43 | I want you to go ahead and press
Ctrl+Y or Command+Y on the Mac, in order to
| | 01:47 | visit the Outline mode so that we can
see the core primitive objects that make
| | 01:51 | up this illustration.
| | 01:52 | You will see that there is this cool
polar grid pattern in the background and
| | 01:57 | we have this shadow thing over here,
that sort of trapezoidal thing over on the
| | 02:01 | left-hand side of the illustration,
and then we have got a central rectangle.
| | 02:05 | So if you go to the Layers palette and
you click on the hollow eyeball for the
| | 02:09 | Background layer, to turn it off,
you will be left with just the rectangle and
| | 02:14 | the rectangle is all there is to our 3D object.
| | 02:16 | So go ahead and click on it in order to
just select it and then press Ctrl+Y or
| | 02:20 | Command+Y on the Mac in order
to return to the Preview mode.
| | 02:23 | You can see, here it is.
| | 02:25 | This is our 3D object.
| | 02:26 | If we were to take that rectangle and
move it to a different location, the 3D
| | 02:30 | object would move with it, because the
rectangle and the 3D object are as one.
| | 02:35 | I will go ahead and undo that
movement to reestablish the 3D object in
| | 02:39 | its original location.
| | 02:40 | Now, there are other things going on.
| | 02:42 | There are some symbols, for example,
that you can see here inside the Symbols
| | 02:46 | palette, that have been mapped onto
the three surfaces of this DVD case:
| | 02:51 | onto the face, onto the spine, and onto
the top edge, but otherwise everything
| | 02:56 | is hanging on that rectangular skeleton.
| | 03:00 | Let's bring back the Background layer
so that we can see all of our artwork.
| | 03:04 | Let's take a look at the Appearance palette.
| | 03:05 | Make sure that you have your
Appearance palette up on screen.
| | 03:08 | We have got the path selected,
the rectangle, and we can see that it has no stroke.
| | 03:13 | It's got kind of a blackish fill, and
then it has two live effects applied to it:
| | 03:17 | 3D Extrude and Bevel, which is the
first 3D command we are going to be looking at,
| | 03:20 | and Outer Glow, which gives
us a sort of glow around the box.
| | 03:25 | Let's get rid of both of them so
that we can rebuild this object.
| | 03:29 | What I want you to do is go over to
the Appearance palette menu and choose
| | 03:33 | Reduce to Basic Appearance to get rid
of all the live effects and leave us with
| | 03:37 | just the black fill and nothing more.
| | 03:39 | Now, notice that it's kind of a rich
black but it's more of a rich gray than
| | 03:43 | anything else, because we don't have
our black cranked up all the way to 100%.
| | 03:47 | I will just remember those values,
because we will need to come back to them later.
| | 03:50 | But let's choose a poppier color for
now so that we can get a sense of what
| | 03:55 | Illustrator is doing and
how it's lighting this object.
| | 03:59 | So I am going to select an orange,
I think, and I am going to go with a
| | 04:02 | really bright orange.
| | 04:03 | 35% magenta and 100% yellow, and that is it.
| | 04:07 | So, a pretty garish orange, but it
stands out nicely from the cool background.
| | 04:12 | Now I want you to go up to
the Effect menu, choose 3D.
| | 04:15 | Notice that we have three 3D effects in all.
| | 04:17 | We have got Extrude & Bevel.
| | 04:19 | And I was telling you what extrusion is.
| | 04:21 | That's when you take that rectangular
face and push it into 3D space so that we
| | 04:26 | have a top edge and a left edge.
| | 04:28 | Think of letters, if you extrude
letters, they get edges around them and you
| | 04:32 | turn them into 3D type.
| | 04:34 | The most common kind of
3D out there is Extrusion.
| | 04:39 | Then the next one is Revolve, where you take
an object and you spin it around in 3D space.
| | 04:45 | So, if you take for example a circle and
spin it around in 3D space, you get a sphere.
| | 04:50 | If you take a triangle and spin it
around in 3D space, you get a cone and so on,
| | 04:55 | and we will see examples of that.
| | 04:56 | Then finally rotate.
| | 04:57 | It's the least of the effects.
| | 04:59 | All it does is rotate the object in 3D
space, meaning that it just kind of takes
| | 05:03 | a 2D object and tilts it a little
in 3D space. Imagine a billboard.
| | 05:08 | It's really a 2D object, but you see
it in perspective, so it's in 3D space.
| | 05:12 | That's all there is to that.
| | 05:14 | You can light it a little bit
but you can't give it edges.
| | 05:16 | As I say, we are not even
going to be looking at Rotate, because
| | 05:19 | everything about Rotate is
included in Extrude & Bevel.
| | 05:23 | So, we are going to be focusing on
Extrude & Bevel first and then Revolve second.
| | 05:27 | What I want you to do right now is
choose the Extrude & Bevel command in
| | 05:31 | order to bring up this dialog box
right here, and then I want you to join me
| | 05:35 | in the very next exercise.
| | Collapse this transcript |
| Applying the Extrude & Bevel effect| 00:01 | For those of you who weren't with us in
a previous exercise, it was all very
| | 00:04 | exciting but we ended at this point here.
| | 00:07 | We're looking at a base orange
rectangle that we are now going to take and
| | 00:11 | extrude in 3D space.
| | 00:13 | If you want to catch up with me,
I am working inside of a document
| | 00:16 | called Base_orange.ai.
| | 00:18 | Make sure you've selected this orange
rectangle, then go up to the Effect menu,
| | 00:23 | choose 3D and choose Extrude & Bevel
and that brings up the Extrude & Bevel
| | 00:29 | dialog box right here.
| | 00:30 | Now the central feature of this
dialog box is this cube right here that you
| | 00:35 | can basically drag around in 3D space, as you
can see me doing right here and it's fun to do it.
| | 00:41 | You can like flip it around in
all kinds of different directions.
| | 00:45 | But notice that we are not seeing any
effect applied to the rectangle in the
| | 00:49 | background, we're just having fun
with the cube essentially, and that's
| | 00:53 | because the Preview checkbox is
turned off, as is often the case for 3D
| | 00:57 | effects inside of Illustrator.
| | 00:59 | Illustrator is worried that it's going
to overwhelm your machine and create too
| | 01:03 | many delays, so it goes and
turns preview off by default.
| | 01:06 | I want you to go ahead and turn it on so that
you can see what on the world you are doing.
| | 01:10 | And notice that you can now see this
rectangle rotated in 3D space, not only
| | 01:15 | rotated but also extruded.
| | 01:17 | That's where we get this edge over
here on the left-hand side in my case.
| | 01:21 | And it looks like a gigantic monolith
basically spinning around, and notice as
| | 01:25 | you drag now, not only do you see the
cube move inside the dialog box but you
| | 01:30 | also see the monolithic rectangle
move outside the dialog box as well.
| | 01:35 | Albeit as a wire-frame preview but
as soon as you release, Illustrator goes
| | 01:39 | ahead and renders it out.
| | 01:40 | Now you may wonder at this point, why
in the world was the Preview checkbox
| | 01:43 | turned off, because this
is going so very quickly?
| | 01:45 | Well, that's because we don't have
anything really going on at this point.
| | 01:48 | We just have a rectangle and that's it.
| | 01:50 | Once, we start mapping surfaces and
doing some more complicated stuff, then
| | 01:54 | we are going to end up slowing down the
program, and you'll see it takes more time
| | 01:58 | to preview under those conditions.
| | 02:00 | Notice the colors of what's going on
here. Notice when I hover over this edge,
| | 02:04 | it's a red edge, when I hover over
this edge, it's a green edge, and when I
| | 02:07 | hover over this edge, it's a blue edge.
| | 02:09 | Well because this dialog box assigns
red to an X-Axis rotation and green to a
| | 02:15 | Y-Axis rotation and blue to a Z-Axis
rotation, meaning that we are working in 3D space
| | 02:21 | and it's a color coded space,
essentially is what's going on. All right.
| | 02:25 | So if you drag this too far like so,
you are going to move the front edge which
| | 02:29 | is shown as blue inside the dialog box
to the other side, and you reveal the
| | 02:34 | rear edge which is shown as dark gray.
| | 02:36 | So, you probably don't
want to go that far with it.
| | 02:38 | Go ahead and keep that blue edge
visible unless you have some big reason
| | 02:42 | for doing otherwise.
| | 02:44 | If you want to spin the monolith in
the other direction, so that it's facing
| | 02:47 | to the left instead of to the right,
then you want to do a Y-Axis spin as
| | 02:52 | we're doing right now.
| | 02:53 | And again, I have just revealed the
back of the object and I want to go ahead
| | 02:56 | and bring it back over so
that we can see the front.
| | 02:59 | And then finally, you can spin the
object upside down by doing a Z-Axis
| | 03:04 | rotation, so now we have
an upside down blue face.
| | 03:07 | We can still see the blue face so the
front face is still forward, but we've
| | 03:11 | gone ahead and spun the object on its head.
| | 03:13 | That's why we are seeing almost a
rotation of -180 degrees. We have almost
| | 03:18 | spun it all the way around.
| | 03:19 | Let's go ahead and take it back up right here.
| | 03:21 | The values that I suggest you work with
for this specific exercise are -32 for X
| | 03:28 | and -35 for Y and then 26 for Z. And
that is the angle of that DVD box that we
| | 03:36 | saw in the previous exercise.
| | 03:38 | Now that may surprise you
because it doesn't look right at all.
| | 03:41 | In fact, it looks just down right weird.
| | 03:43 | It look like the top edge of the box
is skinnier than the bottom edge of the
| | 03:47 | box, like it's flaring outward.
| | 03:49 | And that's because we are seeing
what's called an orthogonal projection.
| | 03:52 | We are not seeing any perspective
whatsoever applied, so all three edges are the
| | 03:57 | same size, and the top edge is
exactly the same length as the bottom edge.
| | 04:03 | Even though that may not look like the
case, that is the case as it turns out.
| | 04:06 | Now if you want to make this look more
like a 3D projection so that the object
| | 04:11 | is declining toward the horizon, or
just generally getting smaller as it
| | 04:15 | declines away from you, then you need
to enter a perspective value right here.
| | 04:19 | And the Perspective value I want you to enter
for this object-- Well, you can, you know what?
| | 04:23 | You can play around with that if
you want to just to get a sense.
| | 04:25 | Notice at this point, we are getting
quite the 3D effect as if this box is
| | 04:30 | really looming out toward
us and it is very, very tall.
| | 04:34 | At a Perspective of a 105 degrees.
| | 04:36 | I am going to suggest we take this
value down to 62 degrees, or something more
| | 04:40 | moderate, just a tad bit
natural amount of perspective.
| | 04:44 | You can also determine
the depth of your extrusion.
| | 04:47 | So, if you want super deep edges like
this, increase the Extrude Depth value.
| | 04:52 | If you want less deep edges, shallow
edges, I believe they call them, then go
| | 04:56 | ahead and reduce the value.
| | 04:58 | I am going to leave this
set to 50 points by the way.
| | 05:01 | It works best for our box.
| | 05:03 | Now we have this Cap option right here.
| | 05:05 | Do you want to see the face of your
graphic, or do you not want to see the face
| | 05:09 | and only see the extruded edges?
| | 05:12 | That's what the Cap option is asking you.
| | 05:14 | I want to keep our face on there.
| | 05:16 | We want to see that face. We don't want
to be able to see through the DVD case,
| | 05:20 | and then finally, we have
these cool Bevel effects.
| | 05:24 | Notice that you can bevel the edges
by switching to the Classic Bevel.
| | 05:28 | See those beveled edges right there,
and then you can determine the height of
| | 05:31 | your beveling as well.
| | 05:32 | How much room it takes up on the edge.
| | 05:35 | And you can set whether you are
beveling inward, as we are in right now, or
| | 05:40 | whether you are beveling outward
and increasing the size of the object.
| | 05:43 | I am going to keep the bevel inward.
| | 05:45 | You can play with some other beveling
options. Like here is Complex 1, which is
| | 05:48 | pretty darn and cool.
| | 05:49 | Here is Complex 3, which I think is really
cool in terms of having kind of a framing effect.
| | 05:55 | Problem is we're going to be mapping
some artwork on to our surfaces, and once
| | 06:00 | you start applying bevels, you get more
and more surfaces to work with, and it
| | 06:05 | becomes very, very
difficult to predict the results.
| | 06:08 | Think of it this way.
| | 06:09 | When we have no bevel,
how many edges do we have?
| | 06:12 | Well, we have a front edge, a top edge,
and a left edge but we also have --
| | 06:16 | those are three right, but
we also have three edges
| | 06:19 | we can't see: the bottom edge,
the back edge, and the right edge.
| | 06:21 | So we have six edges all together
that we have got to map art onto.
| | 06:25 | Some way or the other. We can leave
those back edges unmapped but we still have
| | 06:28 | to deal with three of them here.
| | 06:30 | As soon as you apply the most basic
bevel, which is Classic, all of sudden you
| | 06:35 | add eight more edges.
| | 06:37 | You have got one at the top here, one
over here that we can barely see, one down
| | 06:40 | here that we can barely see, another
one here that's clearly visible, and then
| | 06:44 | four on the other side.
| | 06:45 | So now we have jumped from six edges
to 14 edges, and trying to track exactly
| | 06:51 | where those edges are is very difficult,
and once we start going to these other
| | 06:54 | effects, my goodness, really the
complexity goes through the roofs.
| | 06:58 | So what I suggest we do is stick
with None for this particular example.
| | 07:02 | If you want to play around with
other effects on your own, you are more
| | 07:05 | than welcome to do so.
| | 07:06 | So that is the basic structure of our
3D beveled box. Go ahead and click OK in
| | 07:12 | order to accept that modification.
| | 07:14 | We have created a wonderful,
beautiful orange monolith here, upon which we
| | 07:18 | can build our DVD case.
| | 07:20 | In the next exercise, we are going to
apply some lighting and some shading
| | 07:24 | here inside Illustrator.
| | Collapse this transcript |
| Adjusting lighting and shading| 00:01 | In this exercise, we're going to
take a look at the lighting and shading
| | 00:04 | options that are available to us when we're
performing a 3D extrusion inside of Illustrator.
| | 00:10 | Now, at the outset of this chapter, you
may recall that I was telling you that
| | 00:14 | Illustrator does not allow you to hang lights.
| | 00:17 | You cannot set up lights as independent
objects thereby lighting one object and
| | 00:22 | casting a shadow onto another.
| | 00:24 | That kind of scene lighting is
just outside of Illustrator's ability.
| | 00:28 | What you can do is basically establish
gradients on the edges of a 3D extruded object.
| | 00:37 | So you can create points of light that
simulate shading is essentially what's going on.
| | 00:42 | That's still pretty good as it turns
out and it makes a very nice effect.
| | 00:47 | Let's see what that nice effect is.
| | 00:48 | I am working inside of a document
called orange extrude.ai that's found inside
| | 00:53 | the 22 3D Effects folder and this
does represent the orange object.
| | 00:59 | It's basically an orange rectangle that
I have extruded in 3D space and I have
| | 01:03 | added a little bit of perspective as well.
| | 01:05 | The lighting that we're seeing so far
is the lighting that Illustrator applies
| | 01:09 | by default, but we can
modify it if we so desire.
| | 01:13 | So what I'd like you to do, go to the
Layers palette, twirl open the 3D object
| | 01:16 | layer, make sure that you've
meatballed the 3D Case item.
| | 01:20 | Then go to the Appearance palette
and you should see a live effect called
| | 01:24 | 3D Extrude & Bevel.
| | 01:25 | Go ahead and double-click on it so that
we can edit that effect and notice the
| | 01:30 | first thing that the dialog
box does is turn the effect off.
| | 01:34 | So there, we were previewing the effect
just fine and dandy and then Illustrator
| | 01:39 | turns the effect off.
| | 01:40 | It turns that Preview checkbox off,
which can be very unnerving by the way.
| | 01:44 | Now, it does it for kind of a good
reason. It's trying to save you time.
| | 01:48 | So it's trying to make sure that
whatever modifications you make don't
| | 01:51 | involve a lot of delays but at the same
time, it's like whoa, what happened to
| | 01:56 | the work I just did?
| | 01:57 | Anyway, what you need to know is the
second you get into this dialog box, if you
| | 02:01 | want to see what you're doing, you've
got to turn that Preview checkbox on again
| | 02:05 | and again and again and again, so
every time you enter the dialog box.
| | 02:09 | All right, notice down here at the
bottom of the dialog box is a Surface pop-up
| | 02:13 | menu that's currently set to Plastic shading.
| | 02:15 | That is the best of the shading styles
that's available inside of Illustrator.
| | 02:20 | The worst is Wireframe.
| | 02:21 | Not only do you not get any shading,
you just get a wireframe object and
| | 02:25 | frequently you get like this
invisible wireframe object like this one here.
| | 02:29 | There are these tiny little fragile
lines if you look very, very closely,
| | 02:33 | these tiny little light gray lines
but they are barely visible at all.
| | 02:37 | So, I recommend that you don't stick
with wireframe unless you get better
| | 02:41 | effects than I am getting out of it.
| | 02:42 | No Shading just applies no shading
whatsoever, so we just see bright orange
| | 02:46 | all over the place.
| | 02:47 | If you want just a little bit of
shading or the most basic shading that
| | 02:50 | Illustrator offers, you can go with
Diffuse shading and then if you want to bump
| | 02:54 | it up a notch go with Plastic shading.
| | 02:56 | I say my recommendation is to stick
with Plastic shading unless things are
| | 03:01 | becoming terribly slow for you and
then ratchet it down to Diffuse shading.
| | 03:05 | The thing is Plastic shading gives you
the most options for control and that may
| | 03:10 | surprise you since we're not seeing
any options for control whatsoever.
| | 03:13 | That's because we need to click on the
More options button right here in order
| | 03:17 | to show the entire 3D
dialog box as we're seeing now.
| | 03:21 | All right, so notice we've got the
sphere here that represents our object and
| | 03:26 | it doesn't always necessarily do a great
job of representing our object where 3D
| | 03:30 | extrusions are concerned, particularly
flat rectangles like this one because
| | 03:35 | spheres have more volumetric detail going on.
| | 03:38 | But still, we get a sense of where our
lights are and what kind of effect they
| | 03:41 | are going to have on our model.
| | 03:43 | I am going to go ahead and
take this light right here.
| | 03:46 | This guy represents a light source and
move it over to the right just a little bit
| | 03:49 | and then I am going to create
another light source by clicking on this
| | 03:53 | little New icon and I am going to
move it to a different location as well.
| | 03:58 | Notice that you have the option, if I
create yet a third light source, I have
| | 04:01 | the option of placing it in back of the object.
| | 04:05 | There is this little icon right there
that will move the light to the back of
| | 04:07 | the object in case you want to
create a back lighting effect.
| | 04:10 | Again, that's going to be more useful
with a volumetric sphere than it is with a
| | 04:15 | flat-sided cube like we have going right here.
| | 04:18 | I am going to go ahead and
delete that light source.
| | 04:20 | Let's select the light source just by
clicking on the Delete icon and then
| | 04:25 | notice our lighting options right here.
| | 04:27 | If you want the strongest lighting
possible, then you want to make sure that you
| | 04:30 | maximize that Light Intensity option
because otherwise you're going to get more
| | 04:35 | of a diffused effect.
| | 04:36 | Ambient Lighting determines how much
other light is going on in the scene around
| | 04:41 | these two light sources.
| | 04:43 | So, if you increase the Ambient value,
then you are not going to get much shading.
| | 04:47 | If you want more shading, really
super strong shading, then take that
| | 04:51 | ambient light source down.
| | 04:53 | I am going to set it to about
40% for this particular example.
| | 04:56 | Now, Highlight Intensity, again it
works better on a volumetric object but the
| | 05:01 | Highlight Intensity determines how
much reflectivity is associated with your
| | 05:05 | object, how much light it reflects
back and whether you get nice hot spots
| | 05:10 | inside of your volumetric objects.
| | 05:11 | In our case, we are not really
going to see all that much difference.
| | 05:14 | I am going to go ahead and take it down to 65%.
| | 05:17 | Then next we've got this Highlight
Size option, which determines how big the
| | 05:22 | reflected highlights are.
| | 05:23 | Again, we're not really going to see
too much here, but if you want to blur the
| | 05:28 | highlights so that you don't get hot
spots, too many hot spots inside of your
| | 05:31 | graphic, then you want to
increase the highlight size.
| | 05:34 | If you want hot spots then you want to
decrease the highlight size. I am going
| | 05:38 | to take our Highlight Size value to 70% and then
finally, we've got this Blends value right there.
| | 05:44 | How many blended steps do you want
Illustrator to create, because that's
| | 05:48 | what it's going to do.
| | 05:49 | In the background, it's rendering this
gradient edge out as a gradient blend
| | 05:55 | and so how many steps do you want to
create between one end of the blend and
| | 06:00 | the other end of the blend and the
fewer steps you ask for, the faster the job
| | 06:05 | is going to print, that kind of thing,
but the more stair stepping you are going
| | 06:09 | to potentially get.
| | 06:10 | I would leave this Blend Steps value
alone. Unless you notice some stair
| | 06:14 | stepping in your printed
graphics. Then boost up that value.
| | 06:18 | Then finally Shading Color.
If you want to assign some color to your
| | 06:21 | shading, then you can.
| | 06:22 | I am going to leave mine set to black.
| | 06:24 | Notice there are two more options
available to us down here and I am going to
| | 06:28 | show you those options in just a moment
but first what I want you to do is click
| | 06:32 | OK in order to accept the
modifications we've made so far.
| | 06:37 | Then I want you to target the
fill inside the Appearance palette.
| | 06:41 | I want you to go over to Transparency
and I want you to reduce the transparency
| | 06:45 | of that fill to 75%, so that we can
see through the object and notice, when
| | 06:50 | we're seeing through the
fill, what are we seeing?
| | 06:52 | We're seeing the background.
| | 06:53 | What are we not seeing? The other edges.
| | 06:56 | There are six edges altogether.
| | 06:57 | We're still only seeing three edges.
| | 06:59 | So, we're not seeing through these
edges to the other edges behind them.
| | 07:03 | Wouldn't it be nice if we
could, and it turns out you can.
| | 07:07 | Go back to the Appearance palette,
twirl close that fill item, go ahead and
| | 07:11 | double-click on 3D Extrude & Bevel,
turn on the Preview checkbox once again
| | 07:16 | and then go down to this guy right
there, Draw Hidden Edges, and if you draw
| | 07:20 | those hidden edges, then you can see through
those transparent faces to the faces behind them.
| | 07:25 | Isn't that cool?
| | 07:26 | So, that would only work if you've got
translucent edges in the first place,
| | 07:29 | something to bear in mind.
| | 07:31 | Then finally, if this orange
rectangle right here were a spot color, it's a
| | 07:35 | process color for us, but if it were a
spot color that we expected to print to a
| | 07:39 | single plate and we wanted
Illustrator to do all of the shading magic using
| | 07:44 | blank ink for example, then we
need to turn on Preserve Spot Colors.
| | 07:48 | That is going to sacrifice some of the effect.
| | 07:50 | In our case, it's going to sacrifice
the translucency and it's going to give us
| | 07:54 | more of a drab shading effect as well.
| | 07:56 | But if you need to do 3D and for example
a 2 color job, that's the way to do it.
| | 08:01 | Turn on that check box.
| | 08:03 | I am going to turn both of these
check boxes off because we're not using them.
| | 08:07 | Then I am going to go ahead and click
OK in order to accept our modifications
| | 08:11 | and then I am going to twirl open fill
and I am going to take that 75% and throw
| | 08:15 | it in the trash here inside
of the Appearance palette.
| | 08:19 | This is our extruded orange rectangle thus far.
| | 08:23 | In the next exercise, we're going to map
some art onto the various surfaces here
| | 08:27 | in order to create our full 3D DVD case.
| | Collapse this transcript |
| Creating symbols for mapped art| 00:00 | All right, very shortly we're going
to be mapping artwork onto the three
| | 00:04 | surfaces of this DVD case, by which
I mean we're going to basically be
| | 00:09 | wallpapering each one of
the three surfaces with art.
| | 00:13 | But before we can do that,
we have to setup our art as symbols.
| | 00:17 | Notice over here in the Symbols palette,
I have a total of six symbols in all,
| | 00:21 | every single one of which will
be utilized in our final artwork.
| | 00:26 | Now why am I working this
way? Because I have to.
| | 00:28 | Before you can map a single piece
of artwork onto a single surface of a
| | 00:33 | 3D object, you have to first
establish that artwork as a symbol inside of
| | 00:38 | the Symbols palette.
| | 00:39 | So let's go ahead and visit the symbols
inside of this particular document and
| | 00:44 | in case you are curious, this
particular document is called Lit & shaded.ai and
| | 00:49 | it's found inside of as
usual the 22 3D Effects folder.
| | 00:54 | So we're going to start with this guy
right here, front. Notice we have got
| | 00:57 | front, spine, and top edge along with
these various symbols that came from other
| | 01:03 | pieces of artwork that we
saw in the previous chapter.
| | 01:07 | Let's go ahead and double-click on front,
the front symbol inside of the Symbols palette.
| | 01:11 | And here is the front cover
art represented as a symbol, albeit a
| | 01:16 | very large symbol of course.
| | 01:17 | This almost takes up an entire page.
| | 01:20 | We are seeing the symbol in the Isolation
mode here and the artwork is pretty simple.
| | 01:25 | It's just made up of some text,
some live text by the way.
| | 01:27 | A couple of shapes. We've got this
white shape in the foreground and then we
| | 01:31 | have an orange shape in the
background that is masking out a few symbols up
| | 01:37 | towards the top of the page.
| | 01:39 | Notice that we do have some
additional symbols going on.
| | 01:43 | This guy right here, the sun shape
that I have used to replace the lynda.com logo,
| | 01:48 | that's a symbol.
| | 01:50 | And these Tiki masks, they are all
symbols and those suns in the background,
| | 01:54 | those yellow suns there.
| | 01:55 | They are all symbols as well.
| | 01:57 | So, what we have here is a symbol
that's referencing other symbols, which is
| | 02:00 | perfectly OK with Illustrator.
| | 02:02 | You can have nested symbols
in the program if you want to.
| | 02:06 | Now, notice this artwork at the top here.
| | 02:08 | I actually created this artwork.
| | 02:09 | I established the artwork in the first
place using the Symbols Sprayer tool,
| | 02:13 | using those symbolism tools.
| | 02:14 | So, just in case you think those tools
are never useful, they can be actually
| | 02:18 | very, very useful for
establishing free form pattern effects.
| | 02:22 | So for example, make sure that
nothing is selected inside of this artwork.
| | 02:25 | Then go ahead and grab the Symbol
Sprayer tool and I want you to select the
| | 02:30 | yellow sun symbol here.
| | 02:31 | The one that's called New Symbol 119
because I never did bother to name it properly.
| | 02:36 | Then go ahead and drag in order to
create a new symbol object and as you
| | 02:41 | know you can sort of paint elsewhere inside
of this object if you want to add more suns.
| | 02:47 | You can also grab the Tiki Idol as I
did and just sort of click in order to set
| | 02:52 | a few Tiki Idols here and there.
| | 02:54 | I clicked and held too longer.
| | 02:55 | I just wanted to click just to
set a single Tiki mask in place.
| | 02:59 | Then I went ahead and grabbed the Symbol
Spinner tool and I used it to determine
| | 03:03 | the angle of the Tiki mask like so.
| | 03:06 | So I decided that guy should go at this
angle, this guy should go at this angle,
| | 03:08 | this one at this angle and I grabbed the
Symbol Sizer tool in order to make this
| | 03:13 | Tiki mask very big and this guy
kind of relatively small actually.
| | 03:18 | I will Alt+Click on it in order to
make it smaller and this guy a little
| | 03:20 | bit bigger as well.
| | 03:21 | So, you can see how these tools are
actually very useful for roughing in some
| | 03:26 | symbol-based artwork.
| | 03:28 | Then after that if you decide you
need more fine-tuned control over the
| | 03:32 | proceedings, which indeed I did, then you
want to go ahead and select your symbol set,
| | 03:36 | go up to the Object menu
and choose the Expand command.
| | 03:39 | It will tell you that it's going to
expand to objects and fills. That's fine.
| | 03:44 | You don't care, just click
OK in order to let 'er rip.
| | 03:47 | Notice that it's not expanding down to
the core paths. We keep symbol instances.
| | 03:52 | So, we're just breaking apart the
symbol instances, which is exactly what we
| | 03:55 | want to do at this point in time.
| | 03:56 | And now I can grab the White Arrow
tool and I can select specific instances
| | 04:01 | and get rid of them or move them into
different locations and so on and so on
| | 04:06 | and I can take more control over exactly
where my Tiki masks are inside of this artwork.
| | 04:13 | Anyway, just to give you a sense of
what I did in order to achieve this effect
| | 04:17 | because I do want you to know those
Symbolism tools can be quite, quite useful.
| | 04:20 | All right, I am going to click on my
artwork with the Black Arrow tool in order
| | 04:24 | to get rid of that big symbol set there.
| | 04:26 | All right, I am going to go ahead and
click on that symbol set with the Black
| | 04:30 | Arrow tool and press the
Backspace key in order to get rid of it.
| | 04:33 | All right, now let's check out the
other surfaces. Double-click on spine and
| | 04:37 | notice that I went ahead and setup the
spine art on its side and upside down.
| | 04:41 | Now you may wonder,
why did I do that? Because I had to.
| | 04:45 | Everything is about having to do it this
way where symbols and 3D are concerned.
| | 04:49 | You basically learn by doing.
| | 04:51 | A little trial and error and you
figure out where things need to go.
| | 04:53 | So, I went ahead and put it on its side.
| | 04:55 | I stretched it out that as well. Again why?
Because I had to in order to get the right effect.
| | 05:00 | When I am done, as you will see by
the way and then finally, we've got this
| | 05:04 | top edge which is the top edge of the DVD
case and I actually drew that box edge out.
| | 05:10 | All right, so let's go ahead and
return to the graphic by double-clicking
| | 05:13 | outside of the artwork.
| | 05:15 | In the next exercise, we are going to
take those symbols that we just took a
| | 05:19 | look at there and we are going to
map them onto the surface of this box.
| | 05:24 | Just wait and see.
| | Collapse this transcript |
| Mapping symbols onto a 3D object| 00:00 | All right, now it's time to
really for real, map some artwork on to
| | 00:05 | these surfaces of this extruded
object. Make sure that you have open the
| | 00:11 | Lit & shaded.ai file
| | 00:12 | that's found inside the 22 3D Effects
folder or if you have been working along
| | 00:17 | with me inside some other file,
| | 00:19 | that's fine too of course.
| | 00:20 | I am going to go ahead and scoot this
artwork over to the left a little bit so
| | 00:24 | that we can keep an eye on it while we
bring up some big dialog boxes over here
| | 00:29 | on the right-hand side of the screen.
| | 00:31 | Twirl open your 3D object layer and
meatball your DVD case just to make
| | 00:35 | sure that it's active.
| | 00:36 | We already have all of our symbols in
place, so we are ready to begin mapping.
| | 00:40 | Go ahead and double-click on a 3D
Extrude & Bevel item here inside the
| | 00:44 | Appearance palette to bring up the
3D Extrude & Bevel Options dialog box.
| | 00:49 | Now of course like usual
the Preview is turned off.
| | 00:51 | But this time around because what we
really want to do is we want to go to the
| | 00:55 | Map Art function here.
| | 00:57 | Feel free to leave Preview turned off.
We are not going to see anything we
| | 01:00 | didn't see before and it may very well
be, as you start working along inside
| | 01:04 | of your own illustrations, that
you come up with effects that are
| | 01:07 | sufficiently complicated, that
previewing the effect over and over again is a
| | 01:12 | real big time waster.
| | 01:13 | So you may just sort of want to pass up
on the Preview inside of this dialog box,
| | 01:17 | go ahead and click on the Map Art
button and then notice right away you are
| | 01:22 | seeing something of a wireframe preview
of your 3D object, rotated and rendered
| | 01:27 | in perspective in 3D space.
| | 01:29 | All right, so notice what we have got
at the top here. We have got a Surface
| | 01:33 | option which allows us to cycle between
the six surfaces that are available in
| | 01:38 | any cube actually, any non-beveled cube that is.
| | 01:42 | Now Illustrator tries to make things
easier for us by highlighting the active
| | 01:47 | surface with a red outline.
| | 01:49 | So we can see right now, we are
looking at the front surface of our box.
| | 01:52 | That's a great thing, of course.
| | 01:53 | I am going to go ahead and assign a symbol
to this surface, since it's a front surface.
| | 01:57 | So, I will go to the Symbol pop-up
menu right here and I will switch it from
| | 02:02 | None to front in order to assign
this artwork to the front surface.
| | 02:07 | Now we are not previewing the effect yet
because the Preview checkbox is still turned off.
| | 02:11 | But we can preview how the front artwork
fits inside of the front surface of the
| | 02:17 | box, and it doesn't fit altogether right.
| | 02:19 | The reason is because I have clipped
some of the symbol art and so the symbol
| | 02:25 | art actually extends higher inside of
the artwork, higher than it would normally.
| | 02:29 | Because otherwise this artwork
fits perfectly inside of this area.
| | 02:33 | It's just that, you know, we
have got a clipping mask going on.
| | 02:35 | All right, so I am going to move the
artwork into position as I am doing right here.
| | 02:40 | Then I am going to scale it, just a
little bit. I will scale it to the top and
| | 02:43 | I will make sure that we are scaled
to the right and left edges as well.
| | 02:46 | I want to make sure all of
those edges are covered up.
| | 02:49 | And then to make sure that I have done
a good job, I will turn on the Preview
| | 02:52 | check box so that we can see our artwork
assign to the 3D object. That's awesome.
| | 02:58 | Next I am going to cycle to the next
surface by clicking on this right pointing
| | 03:02 | arrowhead and what surface is this?
Who knows until I look out here and I can see
| | 03:07 | that it's the back surface of my cube
because that's where the red rectangle is.
| | 03:11 | All right, so I will give that the slip. I
don't need to assign anything to the back surface.
| | 03:16 | So, click on Next Surface
again. Where is this guy?
| | 03:19 | It's over here on the right-hand edge,
so it's another hidden surface, fine.
| | 03:23 | I will skip it, go to
this edge, where is it?
| | 03:26 | It's down here at the bottom.
| | 03:28 | It's another skippable surface, so fair enough.
| | 03:31 | Click on Next Surface again. Where is this one?
| | 03:33 | This one is along the left-hand
edge so this is the spine art.
| | 03:37 | I will go ahead and click on this
down pointing arrowhead and I will choose
| | 03:40 | spine in order to assign it.
| | 03:42 | Now, you can see that it's not mapping
to the other artwork properly nor is it
| | 03:47 | mapping to its surface properly.
| | 03:49 | So let's go ahead and turn off
the Preview checkbox for a moment.
| | 03:52 | So, we can just focus on dragging this
around a little and scaling it in a place.
| | 03:56 | I don't want to waste a lot of time with
the preview updating every time I make
| | 04:01 | even a minor modification.
| | 04:02 | So, I want to make sure that things
match the background pretty well and
| | 04:06 | it looks like I have managed to cover
up that rear surface pretty nicely.
| | 04:10 | Now I will turn on the Preview checkbox
again in order to see the effect and it
| | 04:14 | looks like it lines up beautifully.
The patterns line up great! I got it right.
| | 04:18 | If you didn't get it right, you can
still drag around until you get those edges
| | 04:22 | exactly where you need them to be.
| | 04:24 | Then I am going to click on Next
Surface once again to go to the last surface,
| | 04:29 | the final surface which is the top of
the box, and I will choose from the Symbol
| | 04:34 | pop-up menu the top edge in order to apply it.
| | 04:38 | And it looks like it maps pretty well.
| | 04:40 | It's not big enough actually for its edge
either, so I will go ahead and turn off Preview.
| | 04:44 | I will drag this edge over.
| | 04:46 | Let's go ahead and drag this over as
well to make sure that everything is
| | 04:50 | aligning properly and with just a little
bit of tweaking I think I can get it right.
| | 04:55 | That looks pretty good.
| | 04:55 | Now I will turn on the Preview
checkbox again to see how that previews.
| | 04:59 | It looks spectacular. That is totally wonderful.
| | 05:03 | There is just one problem outstanding and
that is that we have no shading anymore.
| | 05:09 | We totally got rid of our shading and
the reason is because we are covering up
| | 05:13 | the shaded box with this flat
artwork that has no shading of its own.
| | 05:17 | If we want to shade the artwork,
then we need to turn on the Shade
| | 05:20 | Artwork (slower) checkbox.
| | 05:23 | Yes, we understand it's going to be slower,
but otherwise it's going to look totally bad.
| | 05:27 | And then finally, you can
ask for Invisible Geometry.
| | 05:30 | If you want to see through your box
where it is revealed, then you could
| | 05:34 | turn-on Invisible Geometry. And you know what?
| | 05:37 | Here is something we ought to do actually.
| | 05:39 | Let's go back a few surfaces.
| | 05:40 | Actually, let's go to the very
first surface and let's make it slightly
| | 05:44 | shorter on bottom and slightly shorter
on top, so that we are revealing some
| | 05:49 | of the orange edge.
| | 05:50 | And the reason I am doing this, I don't
want to see the orange but I would want
| | 05:53 | to see a little bit of DVD case.
| | 05:55 | Right, we would reveal a little bit of
the DVD case on the top and the bottom edge.
| | 06:00 | And now I better do the same
thing for the spine actually.
| | 06:03 | So let's go ahead and advance to
this spine art and we will make it a
| | 06:06 | little shorter on top.
| | 06:07 | Let's see if we get that edge right,
I am trying to look over here at the
| | 06:10 | artwork and make sure I am doing this right.
| | 06:12 | Let's drag up the bottom.
| | 06:13 | It's pretty hard to see that
bottom because we have orange on orange.
| | 06:17 | Go ahead and drag down the top a little more.
That looks actually pretty darn good.
| | 06:21 | I might adjust it up just
a tiny bit and that looks good.
| | 06:25 | One of the reasons I am doing this is
because eventually, we are going to set
| | 06:29 | the color of the box back to black and
we are going to reveal those edges at
| | 06:33 | the top and the bottom.
| | 06:34 | The other reason, I am doing it is
so I can show you what this Invisible
| | 06:37 | Geometry checkbox means.
| | 06:38 | If you turn it on,
notice that the box goes away.
| | 06:42 | We only have mapped artwork left and
nothing else, so we have shaded mapped
| | 06:47 | artwork, no geometry underneath whatsoever.
| | 06:50 | So that's another option, just so
you know and actually in our case, it's
| | 06:53 | pretty helpful because I can see that I
didn't get this bottom edge aligned right at all.
| | 06:57 | I am going to turn off
Invisible and then turn it back on.
| | 07:01 | Aha. The problem is with the front artwork,
so I am going to go back to it by cycling
| | 07:05 | forward and I will drag up that edge.
| | 07:07 | I just want to make sure that
everybody is in line. It is now.
| | 07:11 | That looks good and I will leave
this much exposed edge eventually.
| | 07:15 | Now I will turn off Invisible Geometry
because ultimately I want to see it, then
| | 07:19 | I will click OK to accept my mapped
artwork and I will click OK once again
| | 07:23 | inside the 3D Extrude & Bevel Options
dialog box in order to accept the final
| | 07:28 | effect and there it is thus far, people.
| | 07:31 | In the next exercise, I am going to
show you how you can modify the artwork
| | 07:36 | that you have mapped on to the surface
of this box and how to finish off the
| | 07:40 | effect in general.
| | Collapse this transcript |
| Modifying mapped artwork| 00:01 | In this exercise, I am going to
show you how you go about modifying the
| | 00:04 | artwork that you have mapped onto the
surface of a 3D object and it's really
| | 00:07 | just a matter of modifying the symbols here
inside of the Symbols palette but here is the deal.
| | 00:12 | We have symbols inside of symbols.
| | 00:14 | Actually, sometimes, we have symbols
that are inside of groups, that are inside
| | 00:18 | of other groups, that are inside of
symbols and that means that we can walk
| | 00:22 | several Isolation modes deep, as
we are wandering through our aymbol
| | 00:27 | modification, something that is handled
extremely well, I have to say, inside of Illustrator.
| | 00:34 | I think you will find it quite helpful
when you are modifying your own artwork.
| | 00:38 | So if you want to catch on up with me,
I am working inside of a document
| | 00:41 | called Mapped artwork.ai.
| | 00:43 | It's found inside of the 22 3D Effects folder.
| | 00:47 | Lt's say that I want to make some
modifications to the front cover art, so the
| | 00:52 | first thing I am going to do is double-
click on the Front symbol here inside the
| | 00:55 | Symbols palette, in order
to open up this artwork.
| | 01:00 | First of all, I notice that I have
this specified as being an Intermediate to
| | 01:04 | Advanced series. Really it starts at
the very essentials, so it starts out
| | 01:09 | being a Beginning series.
| | 01:11 | So let's go ahead and change the
word Intermediate to Beginning.
| | 01:14 | It gets to be advanced, of course, my goodness.
| | 01:16 | Then I decide that this sun, it's not
really indicative of the round lynda.com logo,
| | 01:22 | so as a stand-in, it really doesn't work.
| | 01:25 | I need to get rid of these
flaring edges. So, it's a symbol.
| | 01:29 | It's a nested symbol, so I need toenter
double-click on edge in order to adhere
| | 01:34 | an Isolation mode for this object
and notice, I am now in this special
| | 01:38 | Isolation mode that shows me context, that
shows me the background artwork at the same time.
| | 01:44 | Fantastic. So I can grab my White Arrow
tool and I will go ahead and Alt-marquee
| | 01:49 | around the tips of the sun rays
there, in order to select all of them.
| | 01:54 | Then I will press the Backspace
key in order to get rid of them.
| | 01:57 | On the Macintosh side, you would Option+
Drag with a White Arrow tool to select
| | 02:01 | those rays and then press the Delete key.
| | 02:03 | Now I am going to switch back to my
Black Arrow tool in order to select
| | 02:06 | the entire sun face. I will press
Ctr+H or Command+H on the Mac to hide
| | 02:09 | those selection edges.
| | 02:10 | I need this sun to be bigger, so I will
press the S key to get my Scale tool and
| | 02:16 | I will Shift+Drag outward in
order to make a bigger sun.
| | 02:20 | And I might even drag it down just
a little bit, so that it's aligned
| | 02:23 | properly with the DVD cover.
| | 02:25 | Now, if I were to just double-click
outside of my artwork, what would happen?
| | 02:30 | I would go back to the full version
of the illustration with the 3D box.
| | 02:34 | Instead I just want to back up one
level and notice that I am inside the sun
| | 02:39 | level which itself is inside the Front
symbol. So I am going to click on this
| | 02:44 | green arrow right there.
| | 02:45 | This arrow in the upper left corner of
the screen in order to back up one level
| | 02:49 | and I will go back to the front
artwork, which is now been updated and now
| | 02:54 | shows me how big that sun
is in its new environment.
| | 02:57 | Now that's bigger than I thought it was
going to be and that's because I got rid
| | 03:00 | of the rays, so that affected
the overall scaling of the graphic.
| | 03:04 | I could go back in here and make some
more modifications if I wanted to, but I
| | 03:08 | want to do something more exciting I think.
| | 03:11 | I want to modify these guys right here,
the colors of the tiki heads, and
| | 03:17 | I am going to do that by double-clicking on
them and that first takes me into the group.
| | 03:21 | Notice that I am inside of a group
here inside of the Front symbol and that
| | 03:26 | group is the clipped group. There is a
clipping mask that is surrounding these
| | 03:32 | Tiki masks and these
sunshine rays in the background.
| | 03:36 | And so that's why I just got done entering.
| | 03:38 | I am going to go to deeper still
because I want to gain access to the Tikis
| | 03:41 | themselves so I will double-click
again and now I am seeing the three Tikis,
| | 03:46 | bright and beautiful here and
everything else is dimmed on the page and that's
| | 03:50 | because I began to enter another group
and actually, you know what this is?
| | 03:54 | This is the symbol set.
| | 03:55 | This is the group that contains the
three Tiki masks and all of the yellow sun
| | 04:00 | rays in the background but doesn't
include the clipping mask. So I am inside of
| | 04:04 | a group, inside of a group,
inside of the Front symbol.
| | 04:08 | To gain access to the Tiki masks, I
have to go another level deep, so I will
| | 04:11 | double-click on him.
| | 04:12 | And notice this time, he gets upright
because it's showing me that he is neither
| | 04:16 | scaled or rotated, this is the
original version of the Tiki idol symbol.
| | 04:22 | And now I can modify him. I will go
ahead and click on him in order to select him.
| | 04:25 | I will press Ctrl+H or Command+H,
just to make sure I have selected him properly.
| | 04:29 | I have. I will press Ctrl+H or Command+H
again to hide those selection edges.
| | 04:33 | Now let's make him purple this time around.
| | 04:35 | I am going to click on the Recolor
Artwork icon up here on the Control palette.
| | 04:39 | I am going to switch over to the Edit
area, link all my colors together so
| | 04:44 | that I can drag them around as one and
just make one big hue shift, drag it to
| | 04:48 | about this location here.
| | 04:49 | I think that's actually a pretty good
shade, if you maybe back it off just a
| | 04:52 | little bit, then click OK in
order to make my modification.
| | 04:56 | Now let's back up one step to see how
it looks in context and that will update
| | 05:01 | all of the Tiki masks. Looking good.
| | 05:04 | Hey. You know what I would like to do as well?
I would like to make the sun rays white.
| | 05:07 | So, I will grab one of these sun
rays and I will double-click on it.
| | 05:10 | Let's go ahead and press Ctrl+H or
Command+H on the Mac so I can see my selection
| | 05:14 | once I make it because this is a
little harder to select actually.
| | 05:17 | I will click on the rays to make sure
they are selected, then I will fill them
| | 05:21 | with white. it looks great. I will back
up a level again by clicking on the left
| | 05:26 | pointing arrow up there in
the upper left hand corner.
| | 05:28 | Everything looks great in context.
| | 05:29 | I will back up another group to see
how they look when clipped. Awesome.
| | 05:34 | And then I will back up to the Front symbol.
| | 05:37 | That looks good too.
| | 05:38 | Actually, the sun maybe is a little big.
| | 05:40 | I think I will take care of it.
| | 05:42 | Let's go ahead and select him,
grab the Scale tool and make him just
| | 05:46 | slightly smaller, like so.
| | 05:48 | Let's back up and see how he looks.
| | 05:50 | This time he looks actually very good.
| | 05:52 | I think that's the right size and then
I will finally back up into the finished
| | 05:56 | version of the artwork, the final
version of the 3D Artwork right here.
| | 06:01 | So the final thing I need to do is go
ahead and select this box, this DVD case
| | 06:05 | here and I am going to do that by
twirling open the 3D Object layer,
| | 06:09 | meatballing the DVD case. I need to
switch out that orange fill for that
| | 06:14 | original black fill that I had.
| | 06:16 | So I will change the Cyan value to 30,
the Magenta value to 30, the Yellow value
| | 06:21 | to 30 and finally the K value to 85%
and that establishes that nice rich gray
| | 06:29 | that I think looks quite a bit like a DVD case.
| | 06:32 | Now I will press Ctr+Shift+A or
Command+Shift+A on the Mac to de-select
| | 06:35 | everything and that is the final
version of our DVD case box. We have extruded
| | 06:42 | an object successfully in 3D
space here inside of Illustrator.
| | 06:46 | In the next exercise, we are going
to take a look at 3D rotations,
| | 06:51 | also very, very interesting.
| | Collapse this transcript |
| Establishing base objects for 3D Revolve| 00:00 | All right, now let's take a look at
Illustrator's 3D Revolve function.
| | 00:04 | In this exercise, I am going to show you
how I put together the base objects for
| | 00:09 | this 3D lamp that we are
seeing on screen right now.
| | 00:11 | And in the next exercise, we will
actually take those base objects and revolve
| | 00:16 | them around a focal point, around a
center point, in order to create the final
| | 00:21 | version of the lamp here. Because as
you will see, what we start with is
| | 00:25 | actually a fairly fragile looking object,
just a series of strokes. All right.
| | 00:30 | So, you may want to open
up this document right here.
| | 00:32 | It's called Lamp.ai.
| | 00:34 | It's found inside of the 22_3D Effects folder.
| | 00:39 | Notice that this is a pretty
complex object this time around.
| | 00:42 | We have a series of three different
3D objects combined with each other.
| | 00:47 | We have got the lamp on this Lamp Colors
layer right there, and then we have got
| | 00:53 | the switch, this tiny little
switch is also a Revolved object.
| | 00:56 | That's on an independent switch layer.
| | 00:58 | Then we have the power cord running
in the background, which is actually a
| | 01:02 | combination of a little faux 3D and
some extrusion going on as well.
| | 01:07 | So how did I setup this lamp?
| | 01:09 | How did I establish this
lamp in the first place?
| | 01:12 | Well, let's go ahead and turn off
those layers, the layers that are turned on
| | 01:16 | currently, and then turn on the Lamp
Outline layer, the one at the very bottom.
| | 01:22 | This is what I did.
| | 01:22 | You may recall there was some Candy
Striping on the pole of the lamp, and that
| | 01:28 | is this object right here.
| | 01:30 | Then I took this green with these
lighter green strips, I took these objects and
| | 01:35 | threw them in the Symbols palette so
we do have a symbol for those strips.
| | 01:38 | So, that's easy enough.
| | 01:40 | This guy represents a cutaway of the lamp.
| | 01:42 | So imagine you stood the lamp straight
upright, you cut it in half so that you
| | 01:47 | could see its innards essentially here,
including the light bulb, cut it right in half,
| | 01:51 | and then you severed the left
half of what was left over from the right half,
| | 01:56 | so that you only had
this right cutaway of the lamp.
| | 02:00 | So we are seeing the light bulb progress
down into the sort of interior element,
| | 02:04 | and then going up into the bowl of the
lamp, then down the shaft of the lamp,
| | 02:09 | down here to some filigree
at the base and then inward.
| | 02:13 | We will take that and we will
basically revolve it over and over around this
| | 02:20 | vertical axis in order to
create a fully realized 3D object.
| | 02:25 | That's what Revolve does.
Rotates the object around a central axis.
| | 02:30 | So problem was, if I were to just
rotate this item right here, the Revolve
| | 02:35 | command is just going to work from the
stroke essentially, so the red stroke,
| | 02:39 | so the entire lamp would be red.
| | 02:40 | How do I go about defining
the colors that I want to use?
| | 02:44 | Well, I need to establish different
stroke colors at different points and
| | 02:48 | that's why I have this
Lamp Colors layer going on.
| | 02:51 | I want you to turn off the Lamp Outline
layer, turn on Lamp Colors, go ahead and
| | 02:56 | twirl that layer open, and then
target the group there, meatball that group.
| | 03:02 | You will see inside the Appearance
palette that we have a 3D Revolve effect
| | 03:05 | applied to the group.
| | 03:06 | I want you to grab that 3D Revolve
effect and throw it away, because we will be
| | 03:10 | recreating it in the very next
exercise. So feel free to trash it for now.
| | 03:14 | Then click off of the
lamp in order to deselect it.
| | 03:17 | What you will see now is
colorized stroked versions of the lamp.
| | 03:21 | I got rid of that sort of beige fill,
that sort of mustard fill that I had
| | 03:25 | before, and I replaced the red
strokes with differently colored strokes.
| | 03:28 | You can't see all of them,
because some of them are white.
| | 03:31 | So that's why I have this
black layer here, for contrast.
| | 03:35 | Go ahead and turn that black layer on and
you can see that we have got a white light bulb.
| | 03:38 | We have got a gold sort of interior element.
| | 03:42 | We have got this white alabaster inside
of the bowl, then a gray outside of the bowl,
| | 03:47 | a little bit of white down here,
some gold filigree, a green stem, some more
| | 03:53 | gold around the base, and
then a gray base element.
| | 03:56 | Now, as you well realize after
everything that we have been through, you can't
| | 04:00 | assign different strokes at
different points in a path.
| | 04:03 | You can't say that Stroke A should
start at the beginning of the path and then
| | 04:07 | here, and then Stroke B should start
here and go to there, and so on and so on.
| | 04:11 | So, I had to break apart the line at
these various locations and stroke each one
| | 04:15 | of the line elements separately, and
that's why I grouped them together.
| | 04:19 | That's why we have this group right here.
| | 04:21 | So if you twirl the group open, you
can see that I have got one path for the
| | 04:24 | bulb, another path for this metal
element up here, another path for the interior
| | 04:29 | of the bowl, and so on and so on,
throughout the length of this lamp element.
| | 04:33 | So these are the elements that we are
going to work from in order to establish
| | 04:37 | our fully realized lamp, and we will do
just that using the 3D Revolve effect in
| | 04:42 | the very next exercise.
| | Collapse this transcript |
| Applying the 3D Revolve effect| 00:00 | Before you, you see the base objects that are
going to make up the 3D version of the lamp.
| | 00:05 | They don't look like much, but they are
going to look dynamite in just a few minutes.
| | 00:10 | I am looking at a
document called Base objects.ai.
| | 00:13 | That's found inside of the 22_3D Effects folder.
| | 00:16 | I would like you to go ahead and turn
off the black layer, because we are not
| | 00:19 | going to need it anymore once
we start revolving the lamp.
| | 00:22 | I am going to move the lamp over to
the left a little bit to give us room to
| | 00:26 | work over here on the
right hand side of the screen.
| | 00:29 | Then twirl open the Lamp Colors
layer and meatball the group in order to
| | 00:33 | select all of the lamp.
| | 00:35 | You can also just click on it with the
Black Arrow tool by the way, and press
| | 00:38 | Ctr+H or Command+H on the Mac so that
we can focus in on the lamp without those
| | 00:43 | selection edges getting in our face.
| | 00:46 | Go up to the Effect menu, choose 3D, and
choose the Revolve command, in order to
| | 00:51 | bring up the 3D Revolve Options dialog box.
| | 00:53 | It looks a lot like the Extrude & Bevel
dialog box, for the simple reason that it,
| | 00:58 | like that dialog box, allows you to
rotate an object in 3D space, which is
| | 01:03 | what this whole position area
of the dialog box is all about.
| | 01:07 | You can also apply shading and
lighting and that kind of thing.
| | 01:10 | So, you may want to go ahead and turn
on the Preview checkbox so you can see
| | 01:14 | what this effect is going to look like.
| | 01:15 | It is going to take a few
moments to render. Bear that in mind.
| | 01:19 | This is a fairly demanding object, so
it demands a lot of processing power
| | 01:24 | is basically the idea.
| | 01:25 | So once you have rendered out the lamp,
why don't you go ahead and grab an edge
| | 01:29 | to this cube and sort of drag it around.
| | 01:31 | Now, the idea is by default,
Illustrator's Revolve command is in the business of
| | 01:36 | revolving an object around a vertical
axis, and as you rotate the object,
| | 01:40 | you not only rotate the base objects, but
you also rotate the axis along with it, so
| | 01:46 | that the revolved object
remains intact the entire time.
| | 01:49 | When you get the wireframe in a
position that you think you are going to like,
| | 01:52 | go ahead and release in order to
generate a new preview of the object, a new
| | 01:56 | full color preview, here
inside of the illustration window.
| | 02:00 | Now, notice the objects may render
properly or they may not render properly.
| | 02:05 | Actually, things look pretty darn
good, a little too hot in terms of the
| | 02:08 | highlights here inside the lamp,
but basically pretty darn good.
| | 02:12 | That is to say, the light bulb is on
top and it's not cut away, as it frequently
| | 02:16 | is when we are working with this command.
| | 02:18 | Now, here is an option
that's worth investigating.
| | 02:20 | This Revolve option right here.
| | 02:22 | Notice that currently we are revolving
our base objects 360 degrees around the
| | 02:28 | vertical axis, so all the way around
the vertical axis, so that we come all the
| | 02:32 | way home and create a
volumetric continuous object.
| | 02:36 | But we don't have to work that way.
| | 02:37 | We can create a cutaway slice
by reducing this angle value.
| | 02:41 | In my case, I just reduced it to 210 degrees.
| | 02:45 | So we are rotating around the vertical
axis 210 degrees and we are leaving the
| | 02:49 | other whatever degrees, what would
that be, 150 degrees open, and as a result
| | 02:54 | you can see this cutaway here.
We have basically sliced into the lamp, even
| | 02:59 | sliced into the light bulb,
which I just think is wonderful.
| | 03:03 | Anyway, it's not the effect we are
going for, but I think it's very cool.
| | 03:06 | Now let's enter the values that
we are really going to go with.
| | 03:09 | Turn off the Preview checkbox so that
Illustrator isn't constantly updating
| | 03:13 | the preview on the fly.
| | 03:15 | Then change our values to -34 degrees
for X, -7 degrees for Y, and 3 degrees for Z.
| | 03:22 | Then reset that Rotate value to 360
degrees and turn on the Preview checkbox
| | 03:28 | to see if this looks any good or not.
| | 03:30 | We are going to have to wait
through the progress bars of course.
| | 03:34 | It ends up rendering quite nicely I think.
| | 03:36 | Now, if you have a problem, you may
see a problem on your screen where, for
| | 03:39 | example, the light bulb gets cut off a
little bit and has kind of a divot inside of it.
| | 03:44 | Don't worry about that now.
| | 03:45 | I will show you how to fix that problem
in just a few moments, but first let's
| | 03:49 | go ahead and map some art
onto the pole of the lamp.
| | 03:53 | You may recall that we had some
candy striping around the pole.
| | 03:56 | Let's go ahead and assign that candy
striping by clicking on the Map Art button.
| | 04:01 | Now notice this time around, because
we are working with a more complicated
| | 04:04 | piece of artwork, that we are no
longer working with six surfaces. We are now
| | 04:07 | working with 101 surfaces, so way more
surfaces associated with this revolved
| | 04:14 | piece of artwork, and you know what?
| | 04:16 | It's going to differ.
| | 04:17 | It's going to vary from one
revolved piece of artwork to another.
| | 04:20 | How many surfaces you have, and where
the surface is that you want to map.
| | 04:25 | In my case, I am very lucky.
| | 04:27 | It's at Surface number 4, right there.
| | 04:29 | That's the front of the lamp,
and we just passed up 3.
| | 04:33 | That represents the back of the pole.
| | 04:35 | So 3 is the back of the pole,
4 is the front of the pole.
| | 04:38 | Now having selected the front of the
pole, I am going to go ahead and switch
| | 04:41 | my symbol to stripes in order to apply the
stripes to the forward portion of the pole.
| | 04:47 | We will wait out the progress bars and
see how this ends up looking, and notice
| | 04:51 | that it looks pretty darn good.
| | 04:53 | We have got some light green
stripes against a dark green background.
| | 04:58 | Now, you may get it in your head that
you want to start sort of tweaking these
| | 05:02 | settings a little bit, make the
object a little bigger or smaller, or
| | 05:05 | something along those lines.
| | 05:06 | I don't recommend you do that.
| | 05:08 | You may also run into a situation where your
preview doesn't look at all right on screen.
| | 05:13 | If that's the case, then go ahead
and click on Shade Artwork (slower).
| | 05:18 | That should take care of your problem.
| | 05:19 | I would like you to select it in any
case, even if things are going perfectly
| | 05:23 | right for you right now,
as they are for me actually.
| | 05:26 | Go ahead and turn on that Shade
Artwork checkbox in order to apply some
| | 05:30 | shading to the pole, and that should resolve
any other problems that you may be experiencing.
| | 05:35 | Then go ahead and click OK in
order to accept that mapping.
| | 05:39 | Now notice that we have got a problem
with the light bulb. I have sort of a new
| | 05:43 | problem associated with it.
| | 05:45 | If you encounter a problem along these
lines, then just go ahead and change one
| | 05:51 | of your Rotation settings right here.
| | 05:53 | So what I am going to do is I am
going to just tweak this X value.
| | 05:56 | I am going to change it from -34
degrees. I will change that 4 to 1,
| | 06:01 | so let's try -31 degrees.
| | 06:03 | Why? Just a random change
just to see how it works.
| | 06:06 | We will wait through
the progress bar of course.
| | 06:08 | All right, so -31 degrees
solved the problem for me.
| | 06:12 | If it doesn't for you, just go ahead and tweak
one of the other values and see what happens.
| | 06:16 | Basically, it's a matter of trying to
get the lamp aligned with Illustrator's
| | 06:20 | vision of this 3D world, and that may
take a little bit of time. All right.
| | 06:24 | Once you are done, go ahead and click
on the OK button in order to apply the
| | 06:28 | effect, and this is it.
| | 06:29 | A 3D revolution created
here inside of Illustrator.
| | 06:34 | In our final exercise, I am going to
show you what to do if you like something
| | 06:39 | you come up with, with 3D effects
inside of Illustrator, but you don't love it.
| | 06:43 | You want to make it look more
realistic. How do you do that,
| | 06:47 | coming right at you, stay tuned.
| | Collapse this transcript |
| Roughing up your 3D art in Photoshop| 00:01 | In this exercise, I want to show you
how to take your 3D effects that you
| | 00:04 | created inside of Illustrator and
rough them up inside of Photoshop.
| | 00:08 | Just to give you a sense of the kind of
things you can do if you allow Photoshop to
| | 00:14 | essentially render out the 3D effects you
create inside of Illustrator. All right.
| | 00:19 | So here, we are looking at a piece of
opening art that I created for one of my books.
| | 00:22 | This happens to be for my
InDesign CS3 One-on-One book.
| | 00:27 | The idea is that we as
designer start with chaos.
| | 00:31 | We get all of these assets from all
these different people, and we have to
| | 00:36 | create order from that chaos.
| | 00:37 | So, we take negdis essentially and
turn it into design. Don't you know?
| | 00:43 | By the way, I am working inside of
a document called Hot metal type.ai.
| | 00:46 | That's found inside of the 22_3D Effects folder.
| | 00:50 | Problem with this artwork, even though
it's well rendered I dare say, and
| | 00:55 | it actually took a little bit of time to
sort of figure out how the objects would
| | 00:59 | relate to each other.
| | 01:00 | This is how the base objects look.
| | 01:02 | If I press Ctrl+Y or Command+Y on the
Mac, these are the base objects inside
| | 01:06 | of this illustration.
| | 01:07 | Just to give you a sense of the kind of
monkeying around I had to do in order to
| | 01:11 | position the objects on top of each
other, so that they look like they were in
| | 01:15 | this sort of orthogonal perspective. All right.
| | 01:18 | So, I will go ahead and press Ctrl+Y or
Command+Y again in order to preview the effect.
| | 01:22 | Problem is, even though I went to all
this work and it actually did take a
| | 01:25 | little bit of effort, everything
is extruded, everything is shaded.
| | 01:29 | We even have drop shadows in the
background, but it still looks so antiseptic.
| | 01:33 | It doesn't look like hot metal type at all.
| | 01:36 | It looks like this strange gray plastic.
| | 01:39 | So, what I decided to do was bring
these objects over into Photoshop, and as
| | 01:44 | I say, rough them up.
| | 01:46 | It turns out, through trial and error,
I figured out that I needed to bring the
| | 01:49 | objects over in four passes, as
represented by these four layers right here.
| | 01:54 | I have the design blocks in the
background, behind the word design, and then
| | 01:58 | the design letters.
| | 02:00 | Then I have negdis blocks in back
of the word negdis, and then of course
| | 02:04 | the negdis letters.
| | 02:05 | So let's start with the design block right here.
| | 02:07 | I will go ahead and Alt+Click or Option+
Click on that layer in order to select
| | 02:12 | all of the objects on that
layer, on the design layer.
| | 02:15 | Then I would go up to the Edit
menu and I choose the Copy command.
| | 02:20 | Now I will go ahead and switch over
to Photoshop. Create a new document.
| | 02:24 | Then I would go up to the Edit
menu and choose the Paste command.
| | 02:26 | Now, as soon as you choose Paste,
when you are pasting something from
| | 02:29 | Illustrator over to Photoshop, Photoshop
asks you how you would like to paste it over.
| | 02:34 | Would you like to paste it as a Smart
Object, so that you forever have access to
| | 02:38 | the original vector information?
| | 02:40 | No, in our case we don't want to do that.
| | 02:43 | The vectors are our enemies at this point.
| | 02:45 | The vectors are what are
giving us that antiseptic effect.
| | 02:48 | We want to go to Pixels in our case.
| | 02:51 | So, we definitely don't want to go to
Path, definitely not Shape Layers,
| | 02:54 | no, not Smart Object, yes, Pixels,
and then you click OK.
| | 02:58 | What you would get is the blocks
that you see on screen right now.
| | 03:01 | So, I am going to go ahead and cancel out.
| | 03:02 | You can try it yourself if you want to.
| | 03:04 | By the way, I am working inside of a
document now inside Photoshop called
| | 03:07 | Rendered type.psd, also
inside the 22_3D Effects folder.
| | 03:12 | Then I went ahead and assigned some
layer effects to this Metal layer.
| | 03:17 | So, I added a Drop Shadow, because what
we don't have is any interaction between
| | 03:21 | these blocks with each other.
| | 03:23 | We still don't really have much
interaction, but at least we have an interaction
| | 03:26 | between the blocks and their
background, thanks to the Drop Shadow.
| | 03:30 | Then I also added a Gradient Overlay
effect, a very subtle Gradient Overlay
| | 03:33 | effect in order to create a little
bit of a darkening and lightening effect
| | 03:37 | across these pieces of metal.
| | 03:41 | Then I added the Scratches layer right there.
| | 03:45 | This is a piece of stock art.
| | 03:46 | That's a photograph of a metal plate.
| | 03:49 | I went ahead and set it to the
Multiply mode and Opacity of 50%.
| | 03:52 | Then I went ahead and grouped it with the
Metal object below to create a Clipping Mask.
| | 03:56 | So I went up to the Layer menu and I chose
Create Clipping Mask in order to group it.
| | 04:02 | That's why it's Ctrl+Alt+G or Command+
Option+G on the Mac in order to group it
| | 04:06 | with the object below, with the layer below.
| | 04:08 | We get this effect here,
which is so much better.
| | 04:11 | All of a sudden, we have something
resembling a texture map, which is not
| | 04:14 | something that Illustrator can accommodate.
| | 04:17 | Then I have got my design letters that
I threw on top there, and I added some
| | 04:21 | Shadows underneath them.
| | 04:24 | I also added a surface texture
on top of those design letters.
| | 04:28 | I think I already have all the effects
turned on, I could go ahead and turn on
| | 04:32 | the Drop Shadow effect as well, but I
think I determined that that was a little
| | 04:35 | bit too much. Not sure, but let's
leave it turned on. It looks great.
| | 04:40 | Finally, just the same
thing over and over again.
| | 04:42 | There is the top metal items right there.
| | 04:44 | Then I went ahead and clipped some
surface texture on top of them, added the
| | 04:49 | letters on a separate layer of course,
went ahead and turned on the Drop Shadow
| | 04:53 | for them, in order to sync that home,
really add some depth to those letters.
| | 04:58 | Then I added a separate shadow, like so.
| | 05:01 | Then of course I clipped in a little bit
of surface texture on those letters as well.
| | 05:05 | Now, the final thing I did--
| | 05:06 | I will go ahead and zoom out a little
bit so that we can take in this entire
| | 05:09 | illustration. I went ahead and threw in
an adjustment layer to make my letters
| | 05:14 | more blueish, like we are seeing here.
| | 05:16 | I think that's a little bit too far, so
I will go ahead and reduce the Opacity
| | 05:20 | of that blue to about 80%.
| | 05:23 | Then finally, I threw in some Labels.
| | 05:24 | This is content of course, the
content that we get from people, and this is
| | 05:28 | structured content that is designed properly
so that it can be understood by our audience.
| | 05:35 | So just to give you a sense of
the kind of things you can do.
| | 05:38 | If Illustrator produces something
that's too pristine, as it often does,
| | 05:42 | feel free to bring your graphics
over into Photoshop, and add some pixel
| | 05:47 | based effects in order to rough up
your artwork and give it some real
| | 05:51 | tangible texture.
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|
|
23. Printing and ExportingSetting your illustration free| 00:00 | For what is ultimately is
single page drawing program,
| | 00:03 | Illustrator offers a highly
sophisticated set of printing options.
| | 00:07 | You can setup virtual bleeds, define crop
boundaries, output an array of printer marks.
| | 00:12 | print color separations
for commercial reproduction,
| | 00:15 | overprint black, define the flatness
of curved paths, tweak color management
| | 00:20 | settings and adjust how your
transparency effects get flattened all from inside
| | 00:24 | a single print dialog box.
| | 00:26 | You can also adjust the resolution of your
raster effects, such as drop shadows and glows,
| | 00:31 | although you have to do that in a
separate command, which is something I
| | 00:34 | complain about at least once per exercise.
| | 00:38 | In addition to Illustrator's printing
capabilities, I will be showing you how to
| | 00:41 | copy and paste artwork between
Illustrator and other Creative Suite applications
| | 00:45 | as well as export layered Photoshop
images, paint graphics for Microsoft Office
| | 00:50 | and wallpaper art for a cellphone.
| | 00:53 | No application is an island.
| | 00:55 | These exercises show you how to get your
document out of this place, if it's the
| | 00:59 | last thing you ever do.
| | 01:00 | After all, if you really love your
artwork, you have got to set it free.
| | 01:05 | Printing and export, a topic so fraught
with excitement that it makes even these
| | 01:09 | borrowed lyrics and worn
out clich?s seem new again.
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| Type outlines and the CS3 format| 00:01 | For this chapter, I would like you
to open a document you see before on
| | 00:03 | screen, which is called Prepress
poster CS3.ai, and it's found inside of the
| | 00:08 | 23_printing folder.
| | 00:10 | Now this document contains a couple
of specialty fonts, namely Lithos Pro
| | 00:15 | and Nueva Standard.
| | 00:16 | If your system doesn't have those fonts
installed on it and you end up getting a
| | 00:20 | font warning, then you can open a
different version of this document, which is
| | 00:23 | called Prepress outlines CS.ai,
which brings up an important point.
| | 00:28 | When you are sending a job out to be
printed, you may or may not want to go
| | 00:31 | ahead and convert your text to outlines.
| | 00:33 | The upsides are that you ensure that
if your printer or some other person
| | 00:38 | that's going to get hold of your file
doesn't have the proper fonts, they are
| | 00:41 | not going to mess things up.
| | 00:43 | Secondly, they are just not going to
mess things up, they are not going to go
| | 00:46 | ahead and change some text on their
own or accidentally reset a font or
| | 00:50 | something along those lines that's going to
basically create a problem in your document.
| | 00:54 | Meanwhile, there is two downsides as well.
| | 00:57 | Firstly, you'll lose the hinting
that's associated with the PostScript font
| | 01:01 | definition for small type and that
can make your small type look a little
| | 01:05 | thicker than normal, if
you convert it to outlines.
| | 01:08 | And then secondly, if your commercial
print house calls you and they say, "We
| | 01:12 | "found a typo inside of your illustration,
we would love to fix it for you, but
| | 01:16 | "you didn't give us the text.
| | 01:17 | "You just gave us outlines."
| | 01:18 | Then either you are going to have to
submit the text version of the document or
| | 01:22 | you are going to have to fix the
problem on your own and then resubmit.
| | 01:25 | So, it's really a matter of trust.
| | 01:27 | If you don't trust the person who you
are sending your document off to, then you
| | 01:31 | need to convert the text to outlines.
| | 01:32 | If you do trust them and I hope you are
working with people that you do trust,
| | 01:36 | but that's not always the case, of
course, then go ahead and give them the
| | 01:39 | text version of the document and let them
worry about having the right fonts and so on.
| | 01:43 | All right, but I bring this up
because I am going to show you, very quickly,
| | 01:46 | how to convert all of the text in your
document to outline just in a two-step operation.
| | 01:51 | I know you know how to convert text to
outlines, but I am going to show you this
| | 01:55 | technique just so you know how to
do it as effectively as possible.
| | 01:58 | You go up to the Select menu.
| | 01:59 | You choose Object and you choose the
Text Objects command, which goes ahead and
| | 02:04 | selects all of the text inside
of your document, notice that.
| | 02:08 | Then you go up to the Type menu and
you choose Create Outlines in order to
| | 02:12 | convert that text to outlines and you are done.
| | 02:15 | Then of course, you go ahead and
choose the Save As command so that you don't
| | 02:19 | save over the original version
of your document and trash it.
| | 02:22 | So, choose Save As.
| | 02:23 | I am going to go ahead and call mine
Prepress poster outlines because I need
| | 02:28 | provide this document for you.
| | 02:29 | So this is indeed the document that's
inside the 23_printing folder that I am
| | 02:32 | providing for you. There you go.
| | 02:35 | Go ahead and save it as a *.AI file.
| | 02:37 | There is really no need these days
to save as a *.EPS file unless you are
| | 02:41 | going to an old version of Quark Express or
goodness gracious, PageMaker for crying out loud.
| | 02:47 | All right, so stick with AI if you
can and go ahead and include that *.AI
| | 02:51 | extension Macintosh people even though
you may not need it, PC people need it
| | 02:55 | and you may need it in
the future. You never know.
| | 02:58 | There is always rumors out there that
one day there is going to be a version of
| | 03:00 | the Macintosh operating
system that requires extensions.
| | 03:03 | So go ahead and leave them on there. There is no
downside to it and then click on the Save button.
| | 03:08 | And I am going to go ahead and save
this document in the Illustrator CS3 format
| | 03:12 | because I want to retain - notice
over here in the Swatches palette, we have
| | 03:15 | got three groups of colors.
| | 03:17 | I want to retain those color groups.
| | 03:19 | If I save it to an older version of
the Illustrator format, I will lose
| | 03:22 | those color groups.
| | 03:23 | However, your commercial printer may require
you to save to an older version of the format.
| | 03:28 | Most stuff is supported by the
Illustrator CS format, but there are few things,
| | 03:32 | like Live Trace and Live Paint,
that you need Illustrator CS2.
| | 03:35 | Also, if you are sending your strokes
inside or outside your objects, you need
| | 03:39 | to go with Illustrator CS2 and as I say,
for Illustrator CS3, that's for saving
| | 03:44 | your color groups, essentially.
| | 03:46 | All right, anyway, I am
going to go with Illustrator CS3.
| | 03:49 | PDF compatible, absolutely.
| | 03:51 | Embed ICC Profiles. You bet.
| | 03:53 | Use Compression, of course, that's a lot
less compression, don't worry about it
| | 03:57 | and then go ahead and click OK in order
to save that document and you are done.
| | 04:01 | In the next exercise, I going to tell
you how I created the bleed outside of the
| | 04:05 | artboard, inside this document.
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| Setting trim size and bleed| 00:01 | In this exercise, we are going to discuss
trim size and bleed here inside of Illustrator.
| | 00:06 | Note that I am, once again, working
inside the Prepress poster CS3.aai file that
| | 00:10 | contains the editable type, and it's
found inside the 23_printing folder.
| | 00:15 | Now, Illustrator frequently gets flack
for not being able to print multiple-page
| | 00:19 | documents, especially, from FreeHand
folks who are used to being able to print
| | 00:24 | multiple-page documents, of course.
| | 00:26 | And gosh, you have all kinds of
multi-page control inside FreeHand.
| | 00:30 | You can mix and match vertically-formatted
pages and horizontally-formatted pages.
| | 00:34 | That's really great, but unfortunately,
FreeHand is no longer viable software.
| | 00:39 | I mean it's still usable, but it looks like
it's not going to be updated in the future.
| | 00:43 | So, what do we do in Illustrator?
| | 00:45 | Well Illustrator, you can force
Illustrator to print multiple-page documents,
| | 00:50 | but it's a twisted workaround, as it turns out.
| | 00:53 | You basically have to create the big
large document and then tile it properly.
| | 00:57 | It's insanity as far as I am concerned.
| | 00:59 | What you really do is you go to
InDesign if you want a multi-page document,
| | 01:02 | but because the truth of the matter is
Illustrator is not even a single page printing program.
| | 01:08 | Illustrator doesn't care about paper.
| | 01:10 | It doesn't care about what you print on.
| | 01:13 | All it's about is what is
the size of your artwork.
| | 01:17 | It can be gargantuan. It can be tiny.
| | 01:19 | It doesn't care.
| | 01:21 | It is just how big is that artwork, and
the size of the artwork is determined by
| | 01:24 | the artboard, which you can see as a
black rectangle in the background here.
| | 01:29 | As you may recall from the outside of
this series, you define the size of the
| | 01:32 | artboard by going to the File menu, and
choosing the Document Setup command, and
| | 01:38 | then you can see that artboard size right there.
| | 01:40 | For me, it's shown in Points, I'll
go ahead and switch it to Inches.
| | 01:44 | And it's is seven inches wide by nine
inches tall, so it's going to fit very
| | 01:47 | easily on a letter size page.
| | 01:48 | That's convenient, Illustrator doesn't
care, but that is a convenience for us,
| | 01:52 | the people who do care.
| | 01:53 | Now, I am going to cancel out of here,
because we just confirmed the size, but
| | 01:56 | unless you want to change your units of
measure to Inches, you need to switch it
| | 02:00 | back to Points before you click Cancel,
because otherwise, that will stick even
| | 02:03 | though we are clicking Cancel.
| | 02:05 | That's a bug, I think.
| | 02:06 | So, I'll just let it go.
| | 02:07 | Make sure to set your units back
before you click Cancel, just so you don't
| | 02:10 | surprise yourself later.
| | 02:12 | So, this artboard determines the size
of the artwork, which in turn determines
| | 02:17 | the size of the trim size.
| | 02:19 | So you are going to get crop marks
right there automatically if you choose the
| | 02:22 | output of your printer marks, as
we'll see in a future exercise.
| | 02:25 | You'll automatically get crop marks there,
so that your commercial printer knows
| | 02:30 | to cut those pages at that location. All right.
| | 02:33 | That's the trim size as defined by the artboard.
| | 02:35 | We also need to bleed in this case.
| | 02:37 | Notice that the red background is
going well outside of the artboard and if I
| | 02:42 | zoom out, you can see just how
well outside of the artboard it's going.
| | 02:45 | Now we don't really need that much bleed,
but we are only going to print so much of it.
| | 02:49 | We can control exactly how much of the
bleed we print inside of the Print dialog box.
| | 02:53 | So just go ahead and
give yourself tons of bleed.
| | 02:56 | And I've made sure that my bleed is
exactly symmetrical, that is, I have the
| | 02:59 | same amount at top as at bottom, and
the same amount on right as on left,
| | 03:05 | just for the static purposes. It's
not necessary that you work that way.
| | 03:08 | But if you do want to work that way,
here is a highly practical application of a
| | 03:14 | special effect, of a live
effect inside of Illustrator.
| | 03:17 | Note that if you click right there on
the artboard, you are going to see this
| | 03:21 | yellow outline right there.
| | 03:22 | That's because I have an object,
| | 03:25 | if you twirl open the Background layer
here inside the Layers palette, I have
| | 03:28 | an object called bleed, which is just a
rectangle, just a rectangle filled with a gradient.
| | 03:33 | But I have gone ahead and applied
an effect, the Transform effect.
| | 03:37 | Go ahead and open up your Appearance palette.
| | 03:39 | You'll see this Fill item right there,
the Fill attribute, twirl it open and you
| | 03:43 | will see right there, the Transform item.
| | 03:45 | If you double-click on it, you will
bring up the Transform Effect, and
| | 03:49 | notice what it's doing.
| | 03:49 | It's going ahead and scaling that
rectangle 150 % horizontally and 120% vertically.
| | 03:55 | Do you have to stick with
those amount? Of course, not.
| | 03:57 | That's just what I did in this case,
and so that ends up creating a big lead.
| | 04:01 | Now if I were to take those away, and just have
100%, 100%, you would see, I'd have no bleed.
| | 04:07 | So that's how I am creating the bleed
with a transformation effect, the same
| | 04:11 | transformation effect that we used to
create that wacky Spirograph effect, lo
| | 04:15 | those many chapters ago.
| | 04:16 | That was a creative use for this command.
| | 04:19 | Here is a very practical use for the command.
| | 04:21 | All right, anyway. I'll cancel out of
there because I want to keep that bleed
| | 04:23 | and I am going to go ahead and zoom in.
| | 04:25 | So, we've established the trim size
and the bleed inside of this document.
| | 04:30 | In the next exercise, we are going
to define how the artwork sits on the
| | 04:33 | printed page.
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| Imageable area and crop boundary| 00:01 | In this exercise, we are going to talk
about how to position the artwork inside
| | 00:05 | of the imageable area of the printed
page, and I'll tell you what that means in
| | 00:08 | a moment, which is a concept, by
the way, as old as Illustrator 1.0.
| | 00:13 | Then we are going to take a look at
how to define the cropped area of your
| | 00:18 | artwork, if you want to, which is a
concept as new as Illustrator CS3.
| | 00:24 | For both of these topics, we are
going to be looking at this document right
| | 00:28 | here, Prepress poster CS3.ai, the same
document we have been working on since
| | 00:32 | the beginning of this chapter,
found inside the 23_printing folder.
| | 00:36 | All right. I am going to go ahead and zoom
out a little, because I want to take a look at.
| | 00:40 | Right now, we are just seeing the
artboard, as I was telling you, which is
| | 00:43 | the artwork itself, and it defines, of course,
the trim size of the final printed piece.
| | 00:48 | But where is the paper? What kind of
paper are we going to be printing on? How
| | 00:53 | is the artwork centered inside
of that piece of paper? And so on.
| | 00:56 | Well, to see that, go up to the View
menu, and choose this command right
| | 01:01 | there, Show Page Tiling.
| | 01:03 | And Page Tiling determines the size
of the imageable area, which is the
| | 01:08 | portion of the printed page that can actually
get printed on, minus the output device's margins.
| | 01:15 | So go ahead and choose Show Page
Tiling, and you will see there is dotted
| | 01:18 | outline right there.
| | 01:19 | That's totally off kilter.
| | 01:21 | That's totally off center.
| | 01:23 | This is a problem that sometimes occurs,
actually, it frequently occurs when you
| | 01:27 | are opening older Illustrator
documents inside of Illustrator CS3.
| | 01:32 | So, if you are opening stuff like from
Illustrator 9, Illustrator 5, Illustrator
| | 01:36 | 3, those kinds of documents, you may
find that the Page Tiling is totally off.
| | 01:42 | What this means is if we were to just
go ahead and print this document, just by
| | 01:45 | pressing Ctrl+P, or Command+P on the Mac,
and then we just hit Enter or Return,
| | 01:49 | we didn't pay attention to any of the
other settings, then we would cut off a
| | 01:53 | lot of our artwork, and it would
look, of course, totally wrong.
| | 01:56 | There would be egg on
our face. That's for sure.
| | 01:58 | All right, so how do we make sure
that the artwork is positioned properly?
| | 02:02 | You go down to the Hand tool, and
you choose this antique tool right here
| | 02:07 | called the Page tool.
| | 02:08 | Its only purpose in life is to
move the imageable area, that dotted
| | 02:11 | outline right there.
| | 02:12 | And then you click and hold in
the lower-left corner of the page.
| | 02:16 | That's how Illustrator defines things,
because actually that's how PostScript
| | 02:20 | define things, the PostScript printing language.
| | 02:23 | Then you go ahead and
center your page as you desire.
| | 02:25 | Now you don't have to center it.
| | 02:27 | It could be off center if you want to,
so that you can make some notations on
| | 02:30 | the right-hand side, in this case.
| | 02:32 | If you absolutely want the artwork
centered inside of the imageable area, then
| | 02:36 | just double-click on the
Page tool and the deed is done.
| | 02:40 | So, that's part one. Part two.
| | 02:41 | How do we go about cropping this
artwork? How do we make sure there are crop
| | 02:46 | marks, for example, around our artwork?
| | 02:49 | Well, because we are cropping to the
artboard, we don't really have to worry
| | 02:52 | about it, technically.
| | 02:54 | We can just let Illustrator add some
trim marks during the printing process.
| | 02:58 | But if we are at all concerned then we
want to make sure and set down the crop
| | 03:02 | marks or we are printing several
cropped items on the single page, such as
| | 03:07 | business cards, for example, then
you can use this new tool inside of
| | 03:11 | Illustrator CS3, which is
called the Crop Area tool.
| | 03:14 | And then you can go ahead and drag
around the portion of the illustration
| | 03:18 | that you want to crop.
| | 03:19 | And you are not going to actually crop the
illustration like you would inside of Photoshop.
| | 03:23 | You are just going to set crop marks
and then you could very diligently set
| | 03:27 | these corners in place here,
or oops! I just goofed up.
| | 03:31 | Well, you know what, there
is a better to work anyway.
| | 03:34 | All you have to do is double-click on
the Crop tool in order to bring up the
| | 03:37 | Crop Area Options right here, and then
you go ahead and choose, from the Preset
| | 03:42 | menu, you choose Fit Crop
Area to Artboard, in our case.
| | 03:46 | Now, if you chose Fit Crop Area to
Artwork bounds, you'll crop all the way out
| | 03:50 | to the edge of the bleed, which
is definitely not what you want.
| | 03:54 | You want to crop inside of the bleed.
| | 03:56 | You want to crop the area
to the artboard, like so.
| | 03:58 | And you can see in the background,
we get a preview and the preview shows
| | 04:02 | exactly where those crop marks are going to be.
| | 04:05 | We also have some other options.
| | 04:06 | You can specify the size of
your crop boundary if you want to.
| | 04:09 | Again, if you know your business cards
are going to be yea wide by yea tall, you can
| | 04:14 | enter those yea values into the Width and
Height option boxes, and you constrain
| | 04:19 | the proportions and so on.
| | 04:21 | Finally, if you are working with video,
there is all of these Display options,
| | 04:26 | so that you can see the
Center Mark, for example.
| | 04:29 | These are previewing in bright green, by
the way, and you can see the Cross Hairs,
| | 04:33 | and you can see Video Safe colors and
you can see the Screen Edge, and the crop
| | 04:37 | rulers and so on and so on, and the
Pixel Aspect Ratio, once again, for video.
| | 04:41 | All right, in our case, I am going to
go and turn all of those options off
| | 04:44 | because we don't need them.
| | 04:46 | Now I'll go ahead and click OK in order
to accept this new crop boundary that I
| | 04:49 | have created, and I will zoom this as well.
| | 04:51 | Now notice that the Crop tool is all ready
to go ahead and move this crop boundary
| | 04:56 | to a different location. If you want to
set the crop in place and lock it down
| | 05:01 | and switch back to a different tool,
such as the Black Arrow tool, but in any
| | 05:04 | case, notice you now have crop
marks right ready to go. Pretty cool.
| | 05:09 | So, in the next exercise, we are
actually going to move into the Print
| | 05:13 | dialog box.
| | Collapse this transcript |
| Setting the General Print options| 00:01 | In this exercise, we are going to take
our first look at the monstrous Print
| | 00:04 | dialog box inside of Illustrator,
| | 00:07 | just rife with option, so it turns out to
be really wonderful deluxe Printing tool.
| | 00:12 | Illustrator offers one of the best
Printing Engines in the business.
| | 00:16 | I am looking at a document called
Centered & cropped.ai, found inside the 23
| | 00:21 | Printing folder, if you are just joining us.
| | 00:23 | Note that the document
does contain Editable type.
| | 00:26 | So, you may get a font warning, if you don't
have all of the fonts loaded on to your system.
| | 00:31 | This document does contain crop marks,
as you can see, around the artboard.
| | 00:34 | We also have two different
dotted boundaries going on.
| | 00:38 | The interior dotted boundary is
the imageable area of the page,
| | 00:41 | that is the portion of the page
that the printer can print to.
| | 00:45 | And the outer boundary is the actual
physical edges of the printed page.
| | 00:51 | Now how do you define the
size of that printed page?
| | 00:54 | Because I was telling you the Document
Size command is all about the artboard,
| | 00:57 | which equals the Trim size.
| | 00:59 | How do you define the size of the printed
page, the page that you are going to print to?
| | 01:04 | And in another program, you would go to
the Page Setup menu under the File menu.
| | 01:08 | In Illustrator, there is no Page Setup command.
| | 01:11 | So, you go to the Print command.
| | 01:14 | Let's go ahead and do that.
| | 01:15 | Go to the File menu, and choose the
Print command or press the Ctr+P, Command+P
| | 01:19 | on the Mac, standard keyboard
shortcut from way, way long ago.
| | 01:23 | As I speak, that's a 23 year old
keyboard shortcut. That's an oldie.
| | 01:28 | So I am going to go ahead and choose
that command, brings up a very minor
| | 01:32 | Print dialog box however.
| | 01:33 | Things start off with the Printer,
what printer you are going to print to.
| | 01:36 | That's useful if you are connected to a
network and you have multiple printers
| | 01:39 | on your network, so that you
can switch between printers.
| | 01:42 | I would be printing to a
Brother HL whatever the heck here.
| | 01:45 | Don't take that as some kind of endorsement.
| | 01:48 | It isn't, believe me, enough said there.
| | 01:50 | We also have a PPD.
| | 01:52 | If your printer supports Adobe's
PostScript printing language, as do all
| | 01:56 | commercial Prepress printers, then you
need to specify a PPD, which stands for
| | 02:00 | PostScript Printer Description, and
in my case, I am not working with the
| | 02:04 | PostScript printer, so I am not seeing one.
| | 02:05 | But what you would have to make sure and
I am sure you use to doing this by now,
| | 02:09 | if you have a PostScript device, but
you would need to make sure that you have
| | 02:11 | the most modern up-to-date PPD file
available to you, and you can usually find
| | 02:15 | those PPD files at your printer's website.
| | 02:19 | All right. We also have the option of
printing multiple copies of our page.
| | 02:23 | We can print a page range, if our
document is big enough to take up several
| | 02:29 | imageable areas. As I was telling you,
that's a big work around that's not even
| | 02:33 | worth bothering with.
| | 02:34 | Then we have our Media Size down here,
which is defined by the driver, and we
| | 02:40 | can change that Media Size if we want to.
We can switch to something like Letter
| | 02:44 | or Legal or what have you,
on the fly, if we want.
| | 02:47 | Mine is already set to a Letter size page.
| | 02:49 | I just happens to know that 612X792 points is
the same as eight-and-a-half by eleven inches.
| | 02:54 | And then we can, of course,
set the Orientation of that page.
| | 02:57 | Currently, its upright.
| | 02:59 | Down here, we have the Option of
setting which layers print, right there.
| | 03:03 | So currently, I am going to print all
visible layers inside of my document,
| | 03:07 | which works out just fine.
| | 03:08 | You can also scale your
document as you print it, if you want to.
| | 03:12 | I have it set to Do Not Scale but
you can Fit it to the page, if you want
| | 03:15 | to increase the size of the artwork,
like so, or if you have a piece of
| | 03:20 | artwork that's too big for the page
that you are going to be printing to,
| | 03:23 | you could scale it down.
| | 03:24 | And then, of course, you can
specify a Custom Scaling as well.
| | 03:28 | Anyway, I am going to
leave mine set to Do Not Scale.
| | 03:30 | Now, notice how it just got off
center there, inside of this preview.
| | 03:35 | Well you can drag the page around.
| | 03:38 | So, that little Page tool isn't
your only option for defining how the
| | 03:42 | artwork sits on the page.
| | 03:44 | You can also modify that relationship
| | 03:46 | here inside of the Print dialog box
by just dragging the artwork around.
| | 03:51 | If you wanted to be centered, just
go ahead and once again double-click.
| | 03:55 | All right, so double-clicking inside of this
area, just goes ahead and centers that page.
| | 04:00 | And that's it for that first
General panel of the Print dialog box.
| | 04:05 | We are going to see more of the Print
dialog box, starting in the next exercise.
| | Collapse this transcript |
| The Setup, Marks, and Bleed options| 00:01 | In this exercise, we are going to
talk about the Setup and Marks and Bleed
| | 00:05 | section of the Print dialog box.
| | 00:07 | I am taking up where I left off in
the last exercise, which is to say I am
| | 00:11 | working inside the Centered & cropped.ai file.
| | 00:14 | That's found inside the 23 Printing
folder, and I have chosen the Print
| | 00:18 | command and all we've done is really
talk about these settings, we haven't
| | 00:21 | changed anything so far.
| | 00:23 | Now notice down here in this little
Print Preview that we are seeing the
| | 00:26 | illustration cropped to
the confines of the artboard.
| | 00:30 | So, everything outside of the artboard
is invisible, including my bleed that I
| | 00:35 | meticulously created and our crop
marks as well, those crop marks that we
| | 00:40 | created using the new CS3 Crop tool.
| | 00:42 | Those have been cut away.
| | 00:44 | Then we are seeing another dotted
boundary out here which represents the
| | 00:47 | imageable area, and then finally, the
dark boundary around the entire page, that's
| | 00:52 | the physical page boundary.
| | 00:54 | All right, how do we get our Bleed back?
| | 00:57 | We need to get it back.
| | 00:58 | We need to actually print that Bleed
along with crop marks and everything else.
| | 01:01 | Well, that's what I am going
to show you in this exercise.
| | 01:04 | Go ahead and click on Setup in order
to switch to the Setup panel here inside
| | 01:08 | the Print dialog box, and notice it
asks how you want to crop your artwork.
| | 01:12 | Do you want to crop it to the
Artboard, or do you want to crop it to the
| | 01:15 | Artwork Bounding Box?
| | 01:16 | Go ahead and choose that and you will
see a bigger version of your artwork with
| | 01:20 | the full Bleed in place and everything.
| | 01:23 | But that's actually the wrong setting,
and I'll come back to why in just a moment.
| | 01:26 | And then you also have the option of Crop Area.
| | 01:29 | We did set a Crop Area, which is the
same size as the artboard as it turns out.
| | 01:32 | So, you could select a
Crop Area as well if you want.
| | 01:36 | Either Artboard or Crop
Area is good for our purposes.
| | 01:40 | Even though we are clipping away the
Bleed, those are actually our proper
| | 01:45 | options because what we are really
setting here, when it's saying Crop Artwork to:
| | 01:49 | it really should say trim size,
because that's what it's asking.
| | 01:53 | What is the trim size of your document?
| | 01:55 | Don't worry about the preview.
| | 01:56 | Just tell me the trim size.
| | 01:58 | If you go for Artwork Bounding Box,
you are going to see that Bleed, but that
| | 02:02 | also becomes your trim size as
well, which is bigger than the page.
| | 02:05 | So, you are messing things up.
| | 02:06 | So, that's not the way to go.
| | 02:07 | I am going to have us, because we
did go ahead and specify Crop Area,
| | 02:11 | let's go with Crop Area this time around.
| | 02:14 | You can also set the Tiling.
| | 02:15 | We are going to go for a Single Full Page.
| | 02:17 | We don't want to break it into multiple
pages using one of the other options and
| | 02:21 | our Placement is fine as is.
| | 02:23 | Let's go now to Marks and Bleed in
order to specify the printer marks and this
| | 02:28 | is where we start to get back some
of the stuff we have lost so far.
| | 02:31 | For example, this is where we get back
our Bleed and here's where we get back
| | 02:35 | our crop marks and so on.
| | 02:36 | Let's start with the Bleed option.
| | 02:39 | Let's indicate how much Bleed we want.
| | 02:41 | Notice that the Link icon is turned on.
| | 02:44 | So changing any one of these options
is going to change all four of them.
| | 02:47 | So, if I change it to 12 points and
press Tab, they will all change to 12
| | 02:51 | points, which is 1 pica, of course.
| | 02:54 | So, we have 1 pica of Bleed around the edges.
| | 02:56 | Well, you know what?
| | 02:57 | I am going to go for more than that.
| | 02:58 | I am going to take this out to 36
points, which is about a-half-inch Bleed
| | 03:02 | all the way around.
| | 03:03 | I may change that later, but right now
that's what I am going to stick with.
| | 03:06 | Now let's turn on some Printer marks.
| | 03:08 | Normally I would just go ahead and say,
All Printer's Marks, to turn everything
| | 03:11 | on, but let's walk through them here.
| | 03:13 | The Trim Marks are those crop marks
that tell the printer exactly how big the
| | 03:18 | artwork is, what the trim
size of the document is.
| | 03:22 | And that's what the commercial
printer will use to go ahead and trim your
| | 03:25 | documents down before they hand you
your 10,000 prints or whatever it is.
| | 03:30 | Then we have got Registration Marks
that help register the various color
| | 03:34 | plates, and we have got Color Bars
that are just used to make sure that
| | 03:38 | everything is printing the way it should,
and we have got some Page Information
| | 03:41 | to identify the job.
| | 03:42 | That's very important.
| | 03:43 | And then you can specify the Printer
Mark Type so that you are working with
| | 03:47 | Western type in case of Roman or Japanese type.
| | 03:50 | And what our Trim Mark Weight is.
| | 03:53 | This is a really great option, by the way.
| | 03:55 | Because what can happen, with some
programs, they will create trim marks
| | 03:59 | that are 0.125 points.
| | 04:01 | That is an-eighth of a
point wide and that's too small.
| | 04:04 | That's too fine for most printers to
render, at least for many printers to render.
| | 04:08 | So, the crop marks will drop out or
get to the point that they are barely
| | 04:11 | visible and you will kind of lose
them, especially against a dark inky
| | 04:14 | background like this one.
| | 04:16 | So, it's good to go with a
quarter point (0.25) crop mark.
| | 04:18 | That's actually a good crop mark to
use or if you really want to make sure
| | 04:22 | everybody sees it, you can
go with a half point (0.50).
| | 04:24 | The problem with half (0.50) point,
if you go that thick, is then it starts
| | 04:27 | being an issue like exactly where do I
crop, do I crop on one side of that half
| | 04:31 | point line or the other
side of that half point line?
| | 04:33 | If you really want to be super-
accurate, stick with a quarter (0.25) point.
| | 04:37 | But anyway, you do have
the option of changing that.
| | 04:39 | And then how far are the Printer Marks offset?
| | 04:41 | You can see them here inside of this
little preview and you can see that they
| | 04:46 | are currently 6 points outside of the page.
| | 04:49 | Well, what if your printer isn't really
that accurate about how they trim the
| | 04:52 | pages and they end up
trimming into the Printer Marks.
| | 04:57 | So that they reveal the Printer
Marks in the edge of your printed pages,
| | 05:00 | the artwork that you are actually
sending out to people. That's a problem.
| | 05:03 | So, you may want to offset your
Printer Marks even farther out.
| | 05:07 | And I am going to go ahead and set mine to 12,
and you can see them shift out a little bit.
| | 05:10 | So, I set it to a full pica outward.
| | 05:13 | Now that means I could end up cropping
my Printer Marks a little bit because
| | 05:17 | they're starting to fall outside
of the imageable area of the page.
| | 05:19 | So, I don't want to go too far, but I
think they are going to be okay, because
| | 05:22 | they are right along the imageable area.
| | 05:24 | So, we should be fine.
| | 05:25 | Now at this point you might say, "Well,
my Bleed is kind of interfering with the
| | 05:28 | "crop marks here." I think I'll take my
Bleed back a little bit to 24 points for
| | 05:33 | example, so that we can still see the
Printer Marks outside the Bleed as well.
| | 05:37 | That looks pretty good to me.
| | 05:38 | That's it for this exercise.
| | 05:40 | In the next exercise, we will address
the rest of these options right here.
| | 05:45 | Stick with me and I will see you soon.
| | Collapse this transcript |
| PostScript-only output and graphics| 00:01 | In this exercise, we're going to
discuss the output and graphics portions of
| | 00:05 | the Print dialog box.
| | 00:06 | I'm still working inside of the Print
dialog box inside of a document called
| | 00:10 | Centered & cropped.ai. That's
found inside the 23_prin |
|
|
